Prime Time: Driver's Ed (2026)

There comes a time when someone squanders enough of your goodwill that you stop mentioning their past glories. Although he's had at least one other very enjoyable movie in the past few years (Champions), that time has come for Bobby Farrelly. I'm not saying that Driver's Ed is a terrible film. It's just so generic and uninspired that it doesn't feel like it was made by someone with some modern classics in their filmography.

Sam Nivola plays Jeremy, a young man struggling with what seems to be the end of his now-long-distance relationship with Samantha (Lilah Pate). After mulling things over, he decides that a road trip is in order. Unfortunately, that road trip involves him commandeering the car used for his driver's ed class, which means that Evie (Sophie Telegadis), Aparna (Mohana Krishnan), and Yoshi (Aidan Laprete) are also taken along for the journey.

It's surprisingly hard to write a review for Driver's Ed. It's one of the most inoffensive and forgettable comedies that I've seen in recent years. Part of me almost wishes that it was terrible. At least I would work up some energy to shred it. It's not terrible though. It's not great either. It is, ironically, the most middle of the road comedy you could possibly imagine, unable to deviate from the plot beats that most viewers would be able to predict from the opening scene. It flops as a teen comedy, it doesn't make enough time for the more fun older cast members (Kumail Nanjiani and Molly Shannon, playing two people the movie should have really focused on instead), and there's not one memorable set-piece, or one big laugh, in the entire runtime.

I'd have to put most of the blame on writer Thomas Moffett, although he at least attempts to add some depth to a couple of the main supporting characters, but Farrelly should have worked harder to fill the film with enough extra treats to make up for the weak screenplay.

The acting isn't bad, so it has that going for it. Nivola is a decent young lead, and Telegadis works well alongside him. Both Krishnan and Laprete also work well together, especially as the former ends up becoming a bit more comfortable in herself. Pate is perfectly fine, but she's really just required to be the destination for a group of characters who end up on a very winding and valuable journey. Aside from the comedy stars already mentioned, Tim Baltz and Bri Giger are the other two main adults to join in with the fun, and their scenes are almost as welcome as those featuring Nanjiani and Shannon. 

There are many worse choices you could make when picking a mild distraction from the streaming services available to you, but I cannot think of anyone who will watch this and then remember it fondly within a few months. It's frustratingly bland and tame, and, most importantly, it's disappointingly lacking in the comedy department.

4/10

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Netflix And Chill: Champions (2023)

We’ve all seen this kind of thing many times before. This is a film that has someone being forced to coach a team he initially has no interest in. The team don’t seem destined for greatness, but there’s a chance that the players may actually provide some valuable life lessons to their new coach. It’s all very predictable. It’s also very enjoyable and entertaining when done well, and Champions is done well.

Woody Harrelson plays Marcus, a man who ruins his career with the double-whammy of a big argument with his boss (Ernie Hudson) and then being caught for a DUI. Forced to do hours of community service, Marcus ends up coaching a basketball team made up of youngsters who are, well, quite different from your usual basketball players. Most of them have disabilities to deal with, but they can also work together to show Marcus that his negativity and stubborn attitude is just as big a problem for the team as any on-court aptitude. 

The first solo directorial outing for Bobby Farrelly (MUCH better than his second go, the odd Dear Santa), this is a remake of a Spanish film, “Campeones”, adapted into this screenplay form by Mark Rizzo. Although I am unfamiliar with the original, it’s easy to see what would draw Farrelly to anything that was close enough to this material. He has worked on a fantastic sports comedy before (and that also featured Harrelson as some kind of coach) and the Farrelly brothers have spent most of their careers trying to make room for disabled individuals, both behind and in front of the cameras. Champions has a lot of heart, and a good message being delivered, but it also doesn’t forget to be funny, and a large part of the humour comes from the supporting cast being given chances to shine around people who either underestimate or just want to ignore them.

Harrelson is great in the lead role, doing the kind of thing that he can do in his sleep. He is there to teach others, but only until he realised that he is the one being taught. Kaitlin Olson is equally good, playing the sister of a team member, as well as being someone who once hooked up with our main character for a one night stand. Hudson is underused, but good enough, as are both Matt Cook and Cheech Marin. It’s hard to resent them being sidelined though, because that just means more time to enjoy the company of James Day Keith, Kevin Iannucci, Madison Tevlin, Alex Hintz, and all of the other team players. They may not be familiar stars, but Farrelly allows them all to improve every scene and show how well they work with the material.

You get standard soundtrack cues, very obvious plotting, and moments to warm the coldest heart, but you get it all in a package that is so expertly constructed that nothing seems like a negative. This is fantastic stuff, likely to please anyone after some good cheer and constant laughs, and I highly recommend it to everyone seeking a break from watching the hands of the doomsday clock creep ever closer to midnight.

8/10

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Dear Santa (2024)

Based on a joke that seems to have been around at least since I was born, which is fast coming up on half a century now, Dear Santa is, in a way, exactly what you'd expect a Christmas comedy from the Farrelly brothers to be. It's also one of their weaker efforts.

Robert Timothy Smith plays Liam Turner, a young boy with dyslexia who struggles to make friends and avoid embarrassment in most social situations. His bestie is Gibby (Jaden Carson Baker), a young boy who has his own social obstacle, simply due to having some large upper teeth. When Liam writes a letter to Santa he mis-spells the name of the recipient, leading to the letter instead being delivered to the fiery underworld. Which is where a devilish Jack Black comes into the picture. Much like a standard genie, he will offer Liam three wishes. Is there any catch? Of course there is, but it's easy for Liam to forget about that when he can get a chance to ask Emma (Kai Cech) out on a date, be friends with Post Malone, and maybe even fix whatever has become broken in the marriage of his parents (played by Brianne Howey and Hayes MacArthur).

Director Bobby Farrelly really seems unsure of what he wants to do here. The screenplay, by Ricky Blitt and Peter Farrelly (developing a story they created with Dan Ewen), doesn't help. Not only is it weak when compared to other Farrelly brother outings, it doesn't even manage to have fun with the Christmas spirit of it all. It doesn't help that it makes no sense, with rules being carefully spelled out near the start of the movie that are completely ignored by the frankly bizarre final scenes. There's some fun to be had, but it's thanks to a couple of fun set-pieces and the sweet screen presence of Smith.

Black does his usual thing, and he's amusing enough with it, but the younger cast members get to steal the movie by simply emphasising their relative innocence. Smith is endearingly hapless, Baker is very sweet, Cech is just the right kind of loveliness to make her seem worth the effort that Smith is making, and Post Malone has fun playing himself. Both Howey and MacArthur do well enough as the parents who have clearly gone through some kind of trauma that has affected the whole family, and P. J. Byrne, Keegan-Michael Key, and Cate Freedman add some laughs. There's also a fantastic cameo from Ben Stiller, just about recognisable despite all the make up he is wearing for his one scene.

Maybe others will enjoy this more than I did, and maybe I had my viewing experience shaded by considering the real-life tragedy that Bobby Farrelly experienced over a decade ago. Maybe those things are inextricably linked though. It certainly seems as if this is a very pointed film, which is another thing working against the comedy and silliness, and there's a lot of pain and hurt at the centre of it that cannot be easily pushed aside before the end credits roll. 

I guess that it sometimes takes more than a half-assed shart gag to counter-balance an exploration of the dark and deep wells of grief that we often have to carry around within us for far too many years.

4/10

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Stuck On You (2003)

The Farrelly brothers had a reputation that they had to uphold at the turn of the 21st century. After scoring big with Dumb & Dumber and There's Something About Mary (and Kingpin should have been just as huge, but I don't recall it making much of an impact until discovered by fans in the comfort of their own homes), they were the ruling kings of bad taste comedy. If a set-piece could be planned around some body functions, they could make it the best possible. In fact, they seemed to falter when seeming to try being a bit gentler in their approach (as happened with  Shallow Hal). Which explains why they gave audiences Me, Myself & Irene (a film with a lead character who has a severe dissociative identity disorder) and this, a comedy that focuses on a set of conjoined twins.

Matt Damon is Bob Tenor, and Greg Kinnear is Walt Tenor. The twins are fairly beloved in their local community, and they can also make the burgers in their dining establishment so quickly that anyone challenging the timer to get a freebie is usually left most disappointed. Walt wants to be an actor though, while Bob is a bit more shy. Anyway, they end up heading to Hollywood, for Walt to take his chance, and that leads to Walt eventually landing a part in a TV drama opposite Cher (played by . . . Cher, of course). This leads to another conversation about the twins perhaps taking a chance on the operation that could separate them, but can they work as well apart as they do together?

There's enough here to keep comedy fans entertained, and the central premise (as is often the case with the Farrelly brothers, deceptive little rascals that they are) allows us to view the main characters as others around them do, good-hearted individuals who happen to be different from many others, but a lot of the fun this time around comes from the casting. The runtime is just under two hours, yet it just about manages not to overstay its welcome, thanks to the final scenes featuring some wonderful pay-offs.

Damon and Kinnear work really well together, chatting to one another like two best friends who just happen to be a lot physically closer than most, which is pretty much what they are. Cher is a lot of fun, initially viewing Walt/Bob as a way to ruin a TV show that she is contractually obliged to, and shows herself willing to play up various perceptions of her image (from man-eater to diva, from wanting to be taken seriously as an actress to wanting to be left alone by people). Eva Mendes is also wonderful here, giving the kind of comedic turn that makes you wish she did it more, and there are great supporting turns from Seymour Cassel, Griffin Dunne (playing Griffin Dunne), and even Meryl Streep, as well as numerous celebrity cameos, both credited and uncredited.

It may lack the big set-pieces that there more successful movies contain, which may partially explain why this seems to stay so overlooked, but Stuck On You keeps the chuckles coming fairly consistently from start to finish, with a large proportion of the jokes avoiding the pitfall of laughing AT the lead characters.

I am sure I will stay in the minority for being a fan of this one, but that won't stop me from trying to get others to give it their time. It's not an all-time great, and not even one of the top three from the Farrelly brothers, but it deserves to have a few more fans.

7/10

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Osmosis Jones (2001)

Osmosis Jones is a standard tale of a reckless cop (Chris Rock) paired up with someone who is a stickler for the rules (David Hyde Pierce). There's an evil villain (Laurence Fishburne) with a plan to go down in history. And lives are at stake, although it is mainly just the one life (belonging to an unhealthy Bill Murray). The big difference here is that the cop is Osmosis Jones, paired up with a medicine named Drix, and the villain is a deadly virus with symptoms that may not be fully recognised until it is too late. And all of this is taking place inside the body of Murray, in animated form.

Directed by Bobby and Peter Farrelly, Osmosis Jones is a fun blend of animation and live action (most of the grosser moments involve Murray either helping the virus along or showing some nasty side-effects from the battles raging within him) that is helped by a great voice cast and a lot of wonderful little sight gags, even if they are all fairly obvious puns. It's also quite tame for a film that comes with their names attached, which seems more likely to be down to the script by Marc Hyman. It focuses more on transposing the tropes of a buddy cop action comedy into the setting of a human body than it does on the many potential opportunities for toilet humour.

The animation may be a bit rough around the edges but it does everything it has to do, and that includes some fun scenes that have our main characters depicted in their animated form while the background is the very live Murray (who is also joined onscreen by Molly Shannon, Chris Elliott, and Elena Franklin, who portrays his frustrated daughter).

Rock does very well in the kinda-lead role, his sharp, fast delivery working brilliantly alongside the smooth and deliberate tone of Pierce. Fishburne, voice matched by the character design, oozes threat and menace with his every line, and there are fun supporting turns from William Shatner, Brandy Norwood, and Ron Howard.

The idea of our bodies being regulated and looked after by small humanoid entites isn't a new one (and it's one that can keep delivering great entertainment when done the right way, as it was with Inside Out) and nothing here feels too original, which is probably the biggest problem that the film has. Overlook the sense of the familiar, however, and you will find an absolute little cracker of a film, one that was unjustly neglected when first released, and remains sorely overlooked nowadays. Seek it out, give it your time, and you may well find that you enjoy it almost as much as I do.

8/10

Osmosis Jones can be absorbed in exchange for cash here.
Americans can get it streaming into their homes here (but on disc, not just . . . streaming).

Dumb And Dumber To (2014)

Jim Carrey and Jeff Daniels return to play Lloyd Christmas and Harry Dunne in this sequel to the 1994 comedy that showed Hollywood just how much money could be made from dumb.

As is the case in reality, the two main characters have seen 20 years go by since their last big adventure. It looks like their inactivity must come to an end, however, when Harry confesses that he needs a new kidney. That makes it the perfect time for him to track down the daughter that he has also just found out about. As Lloyd intimates, as soon as Harry bonds with his daughter then he should have a match for a potential kidney donor. And so the two head off on a road trip, one that brings up some familiar situations, including their lives being endangered as they unwittingly upset some bad people with criminal plans.

The Farrelly brothers (Peter and Bobby) are also back in the saddle for this trip down, or at least by, memory lane, and there are one or two fun cameo appearances by people who were given small roles in the first movie. There's also a great cameo from *[redacted to stay spoiler-free]* that ends up being more fun just because of the role, as opposed to the material that anyone is working with.

The supporting players include Laurie Holden, Rob Riggle and Steve Tom as the three main people who end up needing to keep tags on our two leading idiots, Rachel Melvin is the estranged daughter who has gone off on her own journey, and Kathleen Turner is the infamous Fraida Felcher, mother to the young girl and ex-girlfriend of Harry (and also, if you recall, possibly Lloyd). But, as was the case the first time around, this is a showcase for Carrey and Daniels to let loose and channel every dumb urge they've ever had, and they do one helluva job. Slipping back into the characters comfortably enough, the interplay between the two provides more fun than any of the one-liners or the weak set-pieces.

Remember when it was hilarious to watch Jeff Daniels go through some bowel-related torture before he was due to go out with a beautiful young woman? The biggest set-piece in Dumb & Dumber was also, arguably, the grossest. But it worked. It still does. I laugh long and hard every time I watch that sequence. And I'll return to it many times before ever wanting to revisit a scene in this movie that sees a character inadvertently pleasuring a bed-ridden old woman as he searches for something hidden under some bedsheets. Remember when it was hilarious to watch that dream sequence in which Carrey turned into a kung-fu killer? Yes, the sequel also revisits that moment, and pretty much sets it up in exactly the same way. These two examples highlight the main failing here, because when the film isn't trying to top, or even repeat, the gags from the first movie it doesn't do too badly.

I was laughing quite often at the smallest verbal gags, and enjoyed a lot of the dumb mispronounciations and misunderstandings a lot more than any of the material that placed Riggle alongside the two leads in moments far too reminiscent of the scenes that featured Mike Starr in the first movie. Sean Anders and John Morris are the main writers this time around, but I can imagine a fair bit of improvisation took place, and the Farrely brothers may have also had their own ideas on set, so I'm not going to place the blame entirely on their shoulders. A lot of the dialogue works. Most of the scatological humour doesn't. This may not have been so obvious if it wasn't always reminding you of how much better the first movie was, from the many joke callbacks (which, to be fair, often provided an extra little chuckle), to the pacing and beats of the road trip, to the soundtrack choices (I noticed at least a couple of tunes recycled from the soundtrack of the first movie).

I hope this is wraps everything up for Lloyd and Harry now. There are laughs to be had here, but I was left ultimately disappointed. And that's coming from someone who didn't actively hate Dumb And Dumberer: When Harry Met Lloyd.

5/10

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April Fools: Dumb & Dumber (1994)

It's a relief to watch Dumb & Dumber today and realise that it holds up pretty well, because the success of the film was a bit of a mixed blessing. It helped Jim Carrey to get to the A-list, and it helped the Farrelly brothers go on to make great films like Kingpin, There's Something About Mary and Stuck On You. Unfortunately, it also plunged Jeff Daniels into a bit of a comedy purgatory for a number of years, and it also led to movies like Say It Isn't So and *shudder* Movie 43.

The slim plot sees Lloyd Christmas (Carrey) and Harry Dunne (Daniels) embarking on a trip across the country to return a briefcase to Mary Swanson (Lauren Holly). Unfortunately, the briefcase contains money that was supposed to be delivered to two criminals (played by Mike Starr and Karen Duffy). Mary left it behind deliberately, and is now unaware that Lloyd, who has fallen in love with her, and Harry are determined to travel to Aspen to give it back to her. The criminals ARE aware of the situation, but they need to figure out just what kind of people they're dealing with. Well, as is obvious from the start of the movie, they're idiots.

Lloyd and Harry aren't the most likable movie characters ever to appear onscreen, but viewers will keep rooting for them because they are more like spiteful children than sneaky adults. In fact, thanks to the performances from Carrey and Daniels, that's exactly how they come across. Whether they're chasing an impossible dream, being mean to one another, or being greatly entertained by the simplest of pleasures, these two characters are consistently child-like. Holly somehow manages to stay graceful under pressure whenever she has to share the screen with either of the two leads, Starr and Duffy are fun villains, and Victoria Rowell has a couple of great scenes in the lead up to the finale that manages to be fairly predictable, despite one little surprise thrown in to mix things up a bit. Special mentions should go to Cam Neely, for his portrayal of a mean trucker named Sea Bass, and Harland Williams, playing a traffic cop who appears for one small, but memorable, scene.

Bobby and Peter Farrelly both wrote, with the help of Bennett Yellin, and directed this slice of clever idiocy, and it's really when you see more and more misguided attempts to recapture its essence that you realise just how good it is. The bad taste, the toilet humour, the slapstick moments, everything is put together in just the right way to make for a great final product that entertains everyone but the all-too-easily-offended. The whole thing moves along at a good pace, the soundtrack is full of lively and enjoyable tunes, and it's all centred by that great pairing of Carrey and Daniels, two stooges who argue and fight together as people can do only when they really care for one another.

8/10

http://www.amazon.co.uk/Dumb-Dumber-Blu-ray-US-Import/dp/B001IKKMD6/ref=sr_1_4?ie=UTF8&qid=1396678187&sr=8-4&keywords=dumb+and+dumber

Hall Pass (2011)

The Farrelly Brothers have come a long way since their paean to all things dumb, Dumb & Dumber, cleaned up at the box office. From that great starting point we’ve had the good (There’s Something AboutMary), the bad (okay, they only produced Say It Isn’t So, but their names were all over the marketing) and the divisive (Me, Myself & Irene and Stuck On You are two movies I really like but not everyone feels the same way). And now there’s Hall Pass.

Owen Wilson and Jason Sudeikis play two married men who are given what seems like a fantastic gift from their loving wives - a hall pass. A hall pass is, in the context of the film, a week off from marriage. The guys can relive their days of bachelorhood and get everything out of their system before returning to the family home and settling back down for the rest of their lives. With no restrictions, the two men should obviously be able to live out those fantasies that they've been harbouring for years. Well, while the theory is sound it turns out that the two men are a bit rusty when it comes to actually making any real moves towards ladies.

Written and directed by those Farrelly funsters (Bobby and Peter, who were both helped out in the scripting department by Pete Jones and Kevin Barnett), Hall Pass is an amusing comedy very much in the vein of their past works. There's plenty of refreshing honesty mixed in with the laughs, at least one gross moment and many lines of dialogue guaranteed to offend anyone who wants to be easily offended. Sadly, there aren't any memorable set-pieces and the whole thing suffers from the presence of Sudeikis (he was okay in Horrible Bosses, but I have no idea why the man is being given lead roles - he may get to deliver funny lines but he's not a talented comedic performer).

Thankfully, the cast also includes the lovely Jenna Fischer, Christina Applegate, Nicky Whelan, Stephen Merchant and Richard Jenkins. And Owen Wilson, of course. Some people don't like his standard laid back schtick. I do. There are also appearances from Farrelly regulars such as Rob Moran and Danny Murphy, while Vanessa Angel, Lauren Bowles and even Alyssa Milano join in the fun.

I laughed quite a few times while watching Hall Pass, but there were only two gags that made me laugh hard - one involving Wilson and two naked men and the other moment took place at the very end of the film - and I just don't think that's good enough for a film with this cast and those men behind the camera (yeah, yeah, roll your eyes all you want, I have loved a number of their past films).

It would seem that, for a change, most audience members agreed on this one. It had a fairly high budget for a comedy ($36M, apparently) and didn't exactly provide a rip-roaring return on that investment. Meaning that we've probably been spared a Hall Pass 2. At least that is an extra reason to smile.

5/10

http://www.amazon.co.uk/Hall-Pass-Triple-Blu-ray-Digital/dp/B004MYF6YU/ref=sr_1_2?s=dvd&ie=UTF8&qid=1365989019&sr=1-2&keywords=hall+pass

Kingpin (1996)

Directed by The Farrelly brothers (Bobby and Peter), Kingpin is yet another slice of comedy brilliance from the men who gave the world Dumb & Dumber and There's Something About Mary, to name their two best films. This movie takes the world of ten-pin bowling and adds their usual mix of smart "dumb" gags, gross-out humour and set-pieces to make you laugh out loud.

Woody Harrelson plays Roy Munson, a young man with a great future ahead of him. He can bowl better than anyone else in the game and is on his way to greatness. Until he meets Ernie McCracken (yet another tour de force performance from the great Bill Murray). Ernie talks him into taking part in a money-making scam and things go horribly wrong when the victims demand revenge. Roy loses a hand, which is a big loss for any wannabe bowling champion. Years pass by and Roy becomes one hell of a loser. Things are so bad that his surname is synonymous with taking something potentially great and just turning it all to shit, pardon my language but that is the best way to describe it. His fortunes look up, however, when he finds himself a protege in the form of Ishmael (Randy Quaid). If Roy can convince Ishmael to go along with him on a road trip then they can get to a championship that has a first prize of one million dollars. Ishmael is reluctant to go along as he lives an Amish life and doesn't want to be outcast from the community but circumstances soon change enough to allow the two men to head off. They're soon joined by the gorgeous Claudia (Vanessa Angel) and, of course, "Big Ern" is still acting as if he's the best bowler who ever knocked down some pins. He certainly isn't worried by an Amish lad and some washed-up loser with one prosthetic hand.

Kingpin is, clearly, not for everyone but if you have a healthy sense of humour and aren't easily offended then you will probably find yourself at least having a good chuckle every few minutes. The gags keep flying around so thick and fast that only the most mirthless individuals can fail to have a good time. Even when there aren't clear jokes being made there are constantly amusing performances from the main cast members - Harrelson and Quaid are VERY funny, Vanessa Angel is gorgeous and joins in with all of the fun while Bill Murray steals almost every scene that he's in. There are also great little turns from Chris Elliott, Lin Shaye and Rob Moran.

The script is easily the best thing ever written for cinema by Barry Fanaro and Mort Nathan, the soundtrack is lively and fun (gaining extra points for the inclusion of a great E.L.O track - "Showdown") and there are a couple of great montage moments. The Farrelly brothers know just how far to go and then, as usual, go one step further, which is what makes them so great in the field of comedy. The film is ridiculous, but hilariously so, and while I still think that both Dumb & Dumber and There's Something About Mary hold up as better comedies with bigger laughs, I don't argue strongly with anyone who puts this movie above those two.

In comedy terms . . . . . . . . . . . . . . . . . . it's a strike!

8/10

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