For It Is Man's Number: john c. reilly

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Friday, 21 November 2025

Noir-vember: Chicago (2002)

The fact that Chicago is as good as it is seems to be a testament to the songs, the staging, and some of the casting. I don't think Renée Zellweger feels right in the main role, and I never have, but she does well enough to try and keep up with absolutely superb turns from Catherine Zeta-Jones, Queen Latifah, Richard Gere, and John C. Reilly.

Things start with Zeta-Jones, playing Velma Kelly. We see her performing a routine, "All That Jazz", that she used to perform with her sister. She's now a solo act, having murdered her sister. She hopes to do alright in the long run though, having the allure of celebrity on her side, as well as a smooth and brilliant lawyer, Billy Flynn (Richard Gere). She ends up begrudgingly moved out of the spotlight, however, when Roxie Hart (Zellweger) is jailed for the killing of her lover. Roxie may not have had any profile before the crime, but she sure knows how to create one now, especially with a little help from Matron Mama Morton (Latifah). Cold-blooded and ambitious, Roxie not only wants to escape an appointment with the hangman, she wants to turn her celebrity status into something that lasts after she gets out of prison. But getting out of prison will also depend on, yes, the suave Billy Flynn.

Adapted for the screen by Bill Condon, who has the benefit of great source material to work from, Chicago holds up as one of the best musicals of the 21st century, and, despite the period setting, works very well as a look at the constant allure of celebrity and the way famous people can take advantage of their position to manipulate a narrative. Director Rob Marshall does a hell of a job with his first cinematic release, arguably delivering a debut that he never bettered (although I am saying that before having seen absolutely everything in his filmography).

I don't want to feel as if I'm being overly rude so I'll just say that Zellweger remains the weakest part of the movie, albeit perfectly fine when supported by the many others doing much better work. Zeta-Jones loves every minute of her vamp character, and the film sizzles when she's onscreen, Latifah is a lot of fun, and gets a great number that introduces her character, and Gere is such a perfect fit for his role that it's unsurprising that he ends up involved in the two of the most well-staged numbers in the film. Reilly plays a wonderful sap, somehow making you feel sorry for him every time he is used and betrayed, and there's also room for enjoyable moments that involve Taye Diggs, Dominic West, Colm Feore, Lucy Liu, and the inimitable Christine Baranski.

But let's face it, a musical lives or dies by the musical numbers. This is what makes Chicago such a satisfying watch. The songs are catchy, the choreography is inventive and fun, and it's very rewatchable. "All That Jazz" might be the one that everyone knows, and was the only one I was familiar with when I first watched the film, but "When You're Good To Mama", "Cell Block Tango", "We Both Reached For The Gun", "I Can't Do It Alone", "Mr. Cellophane", and "Razzle Dazzle" are all brilliant in different ways, not to mention the other numbers that help to make up the runtime.

It really is a shame about that bit of mis-casting, but the rest of the film is so good that it still comes very close to being a bit of a modern classic. Maybe one day I'll be able to overlook my biggest problem with it. Not today though.

8/10

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Friday, 7 November 2025

Noir-vember: Hard Eight (1996)

It took me long enough, especially considering how big a fan of his filmography I am, but I finally got around to watching the feature debut written and directed by Paul Thomas Anderson, expanding his short, "Cigarettes & Coffee", from a few years earlier. A lot of things feel in place here that would recur throughout the next few decades, but it's also clear that the director is working on a smaller scale than he would prefer.

Philip Baker Hall plays Sydney Brown, a well-dressed and very polite man who decides to one day help a broke and broken man named John Finnegan (John C. Reilly). He doesn't just help him though. He, metaphorically speaking, teaches him to fish, showing him how to make his way safely and profitably through the waters of Las Vegas casinos. Things go well for a long time, but a situation develops when John falls for a cocktail waitress named Clementine (Gwyneth Paltrow). And when things start getting risky, that's when Jimmy (Samuel L. Jackson) sees his chance to profit from the situation.

There's not much to discuss here when it comes to the plot and the characters. Everything is constructed well, Hall and Reilly are as watchable and captivating here as they have been in any other film roles, and the air of predictability is offset by the earliest scenes setting everything up as a tale more about people looking for ways to pay things forward than get some kind of payback.

While I think a number of the main cast members have done better work elsewhere, there's nothing to criticise in the performances of Reilly, Paltrow, or Jackson. There are also small moments for Philip Seymour Hoffman (stealing a scene, but not given enough time to steal the entire movie) and Melora Walters. Hall absolutely owns every minute of the runtime though. It would be a bit short-sighted, considering the near-200 roles he had in his decades-spanning career, to nominate this as his best ever performance, but I'm still tempted. If it's not the clear winner then it's pretty damn close.

The small cast, the way certain shots are framed, and the economy of the whole thing signify that it's a debut feature, but the confidence and ambition, as well as the main players, help it to feel like a well-made work of art helmed by someone already paving his way to even bigger and better things. This could have easily been a slight bit of entertainment, and it could have leaned more into the expected stereotypes and tropes of the gambling movie. The fact that it still feels so impressive and effective is all down to Anderson being one of the most brilliant and naturally-gifted directorial talents in modern cinema. You could say that it was clear from the very beginning that he had multiple aces up his sleeves.

8/10

Wednesday, 27 November 2024

Prime Time: State Of Grace (1990)

Sean Penn, Gary Oldman, Ed Harris, Robin Wright, John C. Reilly, and John Turturro have a lot of film experience. In fact, I don't think I could do the maths to tally up their cumulative total amount of screentime. Having them all working together in State Of Grace should be a good thing, but you have to then consider that director Phil Joanou didn't have much experience. And writer Dennis McIntyre made his feature debut here, although his early death from stomach cancer removed any chance of seeing what other movies he may have written. The inexperience behind the camera ends up negating the vast experience in front of the camera, sadly, and then there's the presence of Sean Penn, an actor who . . . well, he's just sometimes not as good as he thinks he is. Let's all just try to agree on that for now.

Penn plays Terry, a man who reunites with an old best friend, Jackie (Oldman), after a number of years apart. Jackie is a violent criminal, working for a mob ruled over by his brother, Frankie (Harris). Loyalties are tested, people end up dying, and things get a hell of a lot worse when it becomes clear that someone isn't who they claim to be. There's a rat, someone working for the police, and betrayal will inevitably lead to much more bloodshed.

Despite the selection of music videos that he's shot, Joanou doesn't show any real eye for style or captivating imagery here. State Of Grace is a drab and ugly film, and I don't mean that in a way that allows the aesthetic to match the content (because the cast make the most of the few moments that allow them to set off some fireworks, metaphorically speaking). Perhaps hampered by McIntyre's script, which proves incredibly disappointing in how slavishly it follows a template we have already seen so many times before this, or maybe even overawed by, or too reliant on, his leads, Joanou does nothing to make this stand out from a crowded field.

Let's take a closer look at that cast now. Oldman at least has some energy in his performance, even if it's not always the right energy, and he's as captivating as ever. Harris is similarly capable of holding your attention when he's front and centre, and he gets to play his part with an ongoing attempt to stay calm and controlled, even as he feels himself being caught between a rock and a hard place. Wright tries her best in a role that gives her too little to work with, but both Reilly and Turturro are able to do just enough to make their mark, with the former particularly enjoyable in a role that feels a step removed from many of his other performances. Then you have Penn, who simply fails to convince throughout. He's play-acting in a way that would be excusable if you were watching a young child, but is embarrassing when watching a grown man. I do like Penn in some of the roles that have helped him to earn his reputation over the years, but there are times when he just isn't the right man for the job. This is one of those times.

I wish I could praise anything else, even the score from Ennio Morricone feels a bit lacklustre, but there aren't many positives to grasp on to. There are a couple of decent songs tucked away on the soundtrack, and you also get supporting turns from Joe Viterelli and Burgess Meredith. That's it. This just isn't a good film, despite the presence of some very good people doing occasionally good work. I would advise most people to avoid it completely.

3/10

Monday, 29 May 2023

Mubi Monday: Gangs Of New York (2002)

Despite owning Gangs Of New York for at least a decade, I have a strong suspicion that I haven't actually rewatched it since first seeing it on VHS back when it was first released. I believe my opinion was one shared by many other people then. Daniel Day-Lewis was brilliant as the main villain (well, sort of the main villain, I'll expand on that soon enough), Leonardo DiCaprio was good, but not great, and Cameron Diaz was the weakest of the stars onscreen. The film was typical Scorsese, forming another chapter in his ongoing series about violent people creating things that then become bigger than them. Goodfellas is about a man making himself into a mobster, and a monster. Casino is about the mob building Las Vegas. Gangs Of New York is all about the thuggery and violence that was used to shape, I'll give you two guesses, yep, New York.

DiCaprio plays Amsterdam Vallon, a man we see returning to the bosom of New York many years after watching his father be killed in a huge street battle. The man who killed him is Bill 'The Butcher' Cutting (Day-Lewis), a figure who basically runs the city. Amsterdam has to bide his time before avenging his father, which allows him to get closer and closer to Bill, but he also gets closer to a young woman named Jenny Everdeane (Diaz). It might take a village to raise a child, but it takes some rough time on the streets to make a man. Or something like that.

It's easy to see why director Martin Scorsese would have been drawn to this story/script, written by Jay Cocks, Steve Zaillian, and Kenneth Lonergan. It shows a bloody chapter in history that did just as much to help some people as it did to destroy many others. What is more surprising, especially when rewatching the film today, is just how it stealthily leads you towards an overview of a whole system that is imbalanced and riddled with injustice. People like Bill are able to hold on to their positions because they help those who are in official positions of power. Respectability is a mask, and often worn by those who can quickly call on others to do their dirty work for them, and for a ridiculously low price. And no matter where you think you are in the pecking order, your position is only there as long as those with much more money and power allow it.

Day-Lewis steals the movie, and rightly so. His character is a perfect blend of great writing matched by a flawless performance, and he's always a believable threat to those around him. While DiCaprio isn't as assured or memorable, he does enough to make his part work, and he just about manages to hold his own when sharing the screen with such a formidable co-star. Diaz isn't terrible, but she struggles to convince anyone that she was one of the best picks for the role, although she's not helped by a script that is much more confident with the many main male roles than it is with the lone woman. Elsewhere, the cast is stacked with great actors giving their best attempts at the accents (mainly Irish American). Brendan Gleeson and Gary Lewis are highlights, but you also get to enjoy John C. Reilly, Stephen Graham, Jim Broadbent, and Henry Thomas in some plum roles.

Where this succeeds is in the way it cuts into the corpses that helped to build a city, and also helped to build America, and then starts to show how even the strongest figures were so often puppeteered by those with limited patience for them. Where is falls down slightly is in the way it feels exactly like a film from the early 2000s. This comes through in the casting, it comes through in a score and soundtrack that is not up there with the best work of either composer Howard Shore or Scorsese himself (who often has a great ear for the best tunes to use), and it is there in a couple of moments that I would argue remain some of the most disappointing work from the usually flawless editor Thelma Schoonmaker. I am not a complete moron though, and there are still plenty of moments here where she shows off her consummate skill, but one or two big battle scenes are marred by editing choices - changes in the speed of the action, a lot of cross-dissolving and overlaid imagery - that feel very much from this time.

Despite these minor criticisms, and they are based on very conscious choices by the director, Gangs Of New York easily holds up as another absolute cracker from a director who has rarely put a foot wrong throughout a long and impressive career. And, despite very stiff competition, it’s quite possibly the best performance that Day-Lewis has ever given.

8/10

Tuesday, 10 September 2019

Holmes & Watson (2018)

How bad is Holmes & Watson? Considering how much is was roundly battered by critics, and anyone brave enough to go and see it at the cinema, could it really be THAT bad? Yes, yes it could. And I can say this with a degree of confidence, having been one of the few people to have now seen it twice.

The first time doesn't really count though. When I first watched this movie I was laughing aloud at a number of moments. I'd also taken an excessive amount of valium before a short flight (I'm just a nervous flyer, and it turns out I wasn't listening to my wife when she reminded me of the recommended dosage of something I wasn't used to). But you can certainly take that as a different view of the film. It will make you laugh if your brain has been suitably altered by some substance that keeps you in a very good mood, be that alcohol, medication, or your favourite Doritos.

So, for the purpose of this review, I am going to focus on my second, most recent, viewing. My brain was not altered in any way (beyond the usual warping), although I definitely wish it had been.

Will Ferrell plays Sherlock Holmes, John C. Reilly is Doctor John Watson, his constant sidekick, and their latest adventure involves the dastardly Moriarty (Ralph Fiennes) and a plot to kill the Queen of England (Pam Ferris). That's about all you need to know, other than the fact that Kelly Macdonald is Mrs. Hudson, and Rebecca Hall and Lauren Lapkus play two women who turn the heads of our detecting duo.

It has been a decade since Guy Ritchie entertained audiences with a Sherlock Holmes that mixed the traditional elements with some fun cinematic updates (the "Holmes-vision"). We have had Sherlock since then, and also Elementary, both shows that have smartly updated the famous detective for modern viewers, while retaining a lot of the little details that make Sherlock so quintessentially Sherlock. So Holmes & Watson feels like too little too late as soon as it begins. That would be fine though, as long as writer-director Etan Cohen had some good enough gags to make it worthwhile. Sadly, that is not the case.

Cohen seems to rely on the chemistry between Ferrell and Reilly (used so effectively in their previous comedy work), but that's not enough on this occasion. Not when the script is full of unfunny jokes transposing modern habits (selfies, drunk text messages) into the period setting, numerous gross-out gags that fall flat, and sequences that make use of that aforementioned "Holmes-vision". The one time I smiled was due to a fun cameo towards the very end. Nothing else really works, one or two very minor chuckles aside.

Ferrell and Reilly are quite irritating in the lead roles, Macdonald is the highlight of the film, and Fiennes at least manages to get paid for a relatively short amount of screentime. Ferris is very game in her royal role, Hall almost comes out of the whole thing with her dignity intact, but Lapkus is undone by the fact that she has to match Ferrell at his juvenile antics. There are also small roles for Rob Brydon (who is actually a good fit for Inspector Lestrade), Steve Coogan, Hugh Laurie, and that great cameo star.

I am going to give this a fairly generous rating, considering how well it amused and distracted me while I was on valium and trying not to think about anything that could send me plunging to my death. But don't let that fool you into giving this a try. Even Sherlock Gnomes was better than this.

3/10

You can buy the movie here.
Americans can buy the movie here.

Monday, 17 June 2019

Mubi Monday: We Need To Talk About Kevin (2011)

The first time I watched We Need To Talk About Kevin I must say I wasn't that impressed. It felt like two hours spent in the company of generally unpleasant, or blinkered, characters. There was a shocking finale, an event that has reverberated throughout the entire film without viewers knowing exactly what it is until the third act, but nothing much that otherwise worked for me, although I couldn't fault it in terms of the acting and technical side of things.

It worked a lot more for me this time around. It's still a very difficult watch, deliberately so, but it's one that gives you plenty to think about and doesn't really try to offer any biased view of the main characters, which makes it even more difficult to figure out and discuss.

Based on the novel by Lionel Shriver, this is essentially a tale of nature vs nurture. Tilda Swinton plays Eva, a woman who eventually becomes a mother to Kevin (played by various actors, but it's Ezra Miller who makes the strongest impression in the teenage incarnation). Eva is married to Franklin (John C. Reilly) and it soon becomes clear that their new baby is all for daddy and not much for mummy. It's also clear that Eva isn't really feeling the strong maternal bond that is usually a given in movie depictions of motherhood. We see all of these things in flashback, because Eva leads a very different life in the here and now. She seems to be away from her family, her home and car are splattered with red paint by unknown vandals, and she is aggressively confronted/assaulted by people who pass her by in public. It's clear that something bad happened, but not clear what that is.

Director Lynne Ramsay hasn't made a bad movie. Although I used to think this was one of her lesser films, despite the praise it received, I now see it as being almost on a par with the other films I have seen from her. Ramsay has a way of perfectly balancing out film techniques and naturalism, always getting just the right cast and working in a way that suits the material. I can't ever bring myself to fully love this film, it's just the subject matter being so offputting to me in a way that causes me to feel revulsion during some scenes (and probably not the scenes that would cause others to feel revulsion), but I'm no longer going to play it down as something lesser than it really is.

Swinton is very good in her role, a mother who doesn't seem to take easily to mothering. But the beauty of the film, and the adaptation of the source material by Ramsay and Rory Stewart Kinnear, means that you're never 100% sure of that. Is she resenting her child and acting in a way that he can sense, or is the child acting so badly that his mother becomes more and more worn down by his behaviour? Reilly does well in his smaller role, giving a very typical portrayal of a parent who only sees the good in his children when he comes along in time for the better moments. He's not a bad father at all, he just doesn't ever happen to see any of the worst incidents. Although I have already mentioned Miller, who gives a performance here that may well remain a career-best for him for many years, I'll also praise Rock Duer and Jasper Newell, both playing Kevin in his younger years.

Complex, difficult, intriguing, We Need To Talk About Kevin is a film that sets out to ask questions it has no answers for. Because, perhaps most troublingly for many viewers, there often are no answers. Certainly no easy ones anyway. All we can do is manage our own behaviours, and try to do our best by those we love, and that is always going to be a more difficult, and more constant, option than finding easy answers.

8/10

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Thursday, 2 May 2019

Ani-MAY-tion: Ralph Breaks The Internet (2018)

It has been a number of years since I saw, and enjoyed, Wreck-It Ralph, the tale of a videogame baddie (Ralph, played by John C. Reilly) who tried to give himself a different role in life while befriending the a glitching racer girl named Vanellope (Sarah Silverman).

This gets going quickly enough, and the main theme this time is friendship, and how to always be there as a friend by knowing when to step back. There are other things in the mix, but that is the main element, and it's underscored by the grand finale.

Story-wise, the Sugar Rush arcade game ends up breaking a steering wheel. As it is an old machine, the arcade owner isn't sure if it will be fixed or just removed from the arcade, which would leave Vanellope without a home. Luckily, she and Ralph have just learned about the internet, which has just been installed. So they head off to ebay, bid far too much for a replacement steering wheel, and then have to figure out how to earn enough money to pay for it before their allotted time runs out. This involves a bit of treasure hunting for special game treats and, eventually, Ralph trying to become a viral hit.

The voice cast, both the returning performers and the newcomers, are all doing great work here (everyone fitting their characters as well as they did the first time around). Reilly and Silverman make a very cute central pairing, Gal Gadot and Taraji P. Henson are two female characters who are very powerful in differing ways, and there are great little turns from Jack McBrayer, Jane Lynch, Alan Tudyk, and Bill Hader.

Directors Phil Johnston and Rich Moore (both involved with the first movie, which was directed solely by Moore) do a great job throughout. They're helped hugely by the animation team, and the animation is gorgeous and fun throughout (there are SO many details to look out for on rewatched), and the script, co-written by Johnston and Pamela Ribon, with the help of many others, is smart and very funny, while also largely keeping things cute and aimed very much at the child audience.

The fact that Disney now own almost everything in the world means that you also get a world in which Disney princesses feature alongside Star Wars characters, as well as Pixar stars, and familiar Marvel faces (well, at least one). And you once again get a fun mix of well-known videogame characters interacting with one another.

Visually lush, emotionally resonant (especially for children who make friends so easily but may then have to adjust to the normal status quo of friendships ebbing and flowing), and featuring a finale with one of the best, funniest, rescue sequences I have seen in the past couple of decades, Ralph Breaks The Internet is even slightly better than the original film, which I enjoyed a lot. Highly recommended.

9/10

You can buy the disc here.
Americans can get it here.

Monday, 8 April 2019

Mubi Monday: The Sisters Brothers (2018)

A bit of a change of pace for director Jacques Audiard, The Sisters Brothers is an enjoyable dark comedy Western that benefits immensely from two central performances from Joaquin Phoenix and John C. Reilly.

The two play the titular brothers, men who end up on a quest to chase down two men (played by Riz Ahmed and Jake Gyllenhaal) who may be on to a winning formula for gold prospecting. They encounter difficulties along the way, of course, caused by people who want to end their lives, and the excessive drinking of Charlie.

Although featuring all of the usual things you expect to see in a Western, this is atypical in the way the characters are shown and the situations developed. Our two leads are not on some honourable quest, for example. They are being sent after men by a figure known as The Commodore (Rutger Hauer). Loyalties change, character flaws are not fixed in any major moment of redemption, and you never expect anyone to ride off into the sunset.

Reilly and Phoenix may not be two actors you would think of pairing up as brothers but both work really well in their roles, with the former being slightly in the shadow of the latter, although both can step up to the mark when guns need drawn and the bullets start flying. Ahmed is very good as the young man out to make his fortune with brains over toil, and Gyllenhaal is equally good as the man who does his best to stick close to him. You also get a good selection of supporting players, with enjoyable turns from Rebecca Root, Allison Tolman, and the smallest of roles for Carol Kane.

The script, co-written by Audiard and his frequent collaborator Thomas Bidegain (based on the novel of the same name by Patrick DeWitt), is strong. Characters are fleshed out very quickly, with more being added to them as the plot winds from beat to beat, and there are some cracking lines of dialogue (a favourite of mine being Phoenix talking to the citizens of a town named Mayfield).

The direction is also strong, as you may expect if you've seen anything else from Audiard. He keeps everything feeling firmly rooted in the genre while giving most scenes enough of a little twist to make it all feel slightly different from the norm and fresh. There's also some typically wonderful music throughout from Alexandre Desplat (another favourite collaborator of Audiard) and some nice cinematography throughout from Benoît Debie, making a lot of the more unpleasant moments seem more palatable.

8/10

Here's a disc.
And Americans can get it here.

Sunday, 26 November 2017

Terri (2011)

There are two ways you can view low-budget, independent movies. One, you can roll your eyes at a lot of the familiar tropes (the quirky characters, the moments of discomfort, the low-key and relaxed way the slim plot unfolds, etc). Two, you can enjoy visiting a small part of a world populated by people who don't have an extra layer of celebrity sheen to act their way through. I prefer the second method, of course, but it's often decided by the quality of the movie itself.

Terri is a good movie, and I hope others share my opinion of it. Considering I had never heard of it before today, I am really not sure of how it has been received by the few who have already seen it.

Jacob Wysocki plays the titular character, a high school student who has taken to attending school in his pyjamas. They are just more comfortable for him, and it saves him time as he is finding it more and more difficult to look after his ill Uncle James (Creed Bratton). But that still doesn't stop him getting into trouble at school, due to his tardiness and worsening grades, which brings him to the office of the School Principal, Mr Fitzgerald (John C. Reilly). That leads to him befriending the troubled Chad (Bridger Zadina), and also eventually helps him make a connection with the lovely Heather (Olivia Crocicchia).

Directed by Azazel Jacobs, who also came up with the story idea that was shaped by first-time scriptwriter Patrick Dewitt, Terri is a character study that just manages to avoid being too irritating and quirky thanks to the fact that a lot of fun moments are injected with an honesty that stems from the motivations of the main characters.

The performances help a lot. Wysocki is very good in the main role, although he is stuck in the role of gentle victim of circumstance looking forward to times when high school is far behind him, but the star turn comes from Reilly, portraying someone who wants to help the kids in his care but doesn't always do things in the right way, because he is just a man who makes mistakes. Bratton is also excellent, most of the time unaware of exactly what he is doing, because of his illness, and Zadina and Crocicchia both do very well, although both are given unsatisfying moments in the third act.

Overall, this is a small film that does so much right that it's easy to forgive some of the mistakes. It's a shame that it builds up to something that doesn't really satisfy as it should, but that's the way of life, and films like this tend to value that approach over easy brownie points.

7/10

This link is region 1 ONLY - available here.

Monday, 21 April 2014

April Fools: Walk Hard: The Dewey Cox Story (2007)

I first watched Walk Hard: The Dewey Cox Story a year or two ago, and I was underwhelmed. But I didn't write up a review, because although I hadn't seemed to like it while it was on I kept thinking of individual lines and moments long after the end credits had rolled. That was a good sign, surely, and another good sign was the fact that it had so many fans trying to convince people that it was a great comedy. So I decided to buy it and give it another chance. I'm glad I did, because I now agree with those who were telling me how good it was. It's one of the best comedies that Judd Apatow has had his name attached to in the past few years, thanks to a mix of great gags and spot on parodies.

Predominantly riffing on the life of Johnny Cash, as depicted in Walk The Line, John C. Reilly is the talented, but afflicted, Dewey Cox. Haunted by a tragic accident that led to the death of his brother, Dewey spends some years trying to prove to his parents (Raymond J. Barry and Margo Martindale) that he can make it as a talented musician. Unable to win over his father, he heads off with his teenage love (Kristen Wiig) and starts his musical career in earnest. In between singing his way to success, fathering numerous children, and discovering the joys of a variety of drugs, Dewey meets and falls in love with Darlene Madison (Jenna Fischer). But Darlene won't stray beyond the close friendship zone until married.

While it's incredibly silly throughout, Walk Hard is also incredibly smart. The songs, for one, are good enough to be the genuine article, especially the title track. And the script, written by Apatow and director Jake Kasdan, manages to fit in every cliche and homage without, somehow, feeling overstuffed. And then it throws in hilarious lines such as: "Did you hear that? I'm Dewey's 12 year-old girlfriend!"
Okay, that might not seem so hilarious now, but when you watch the whole scene, and hear Kristen Wiig triumphantly delivering that line, you may well find it as funny as I did.

Reilly, Wiig, Fischer, Barry and Martindale all do a great job, with the leading man proving to be quite the asset to the movie, but this is a film taken up a notch by a supporting cast full of talented and funny people clearly enjoying what they have to work with. Tim Meadows almost steals the film, as the band member who introduces Dewey to a variety of drugs, but Chris Parnell, Matt Besser and David Krumholtz are all worth mentioning, as are Jack White (with a hilarious Elvis impression), Harold Ramis, Jane Lynch, John Michael Higgins and many more. And then there's the added bonus of hearing the strange accents affected by Paul Rudd, Jack Black, Justin Long and Jason Schwartzman as they attempt to mimic the Beatles in a scene that I find fairly amusing, but others may find annoying and a bit too self-indulgent.

Jake Kasdan has been proving himself quite a capable director for years now, and this is another title that nestles comfortably alongside the other successes in a feature filmography that, for the most part, aims for quality over quantity.

8/10

http://www.amazon.co.uk/Walk-Hard-Dewey-Blu-ray-Region/dp/B0014T7EV4/ref=sr_1_2?s=dvd&ie=UTF8&qid=1397246079&sr=1-2&keywords=walk+hard