‘I realize that it dun sound as funny as I described it.’ You bet, star and director Jay Chandhrasekhar.
‘Cocaine?’ And it’s customary with every thing written about Super Troopers ever to say that the ageless Lynda Carter, also known as Wonder Woman, makes a cameo here as Governor Jessman. Another cameo is Geoffrey Arend or Mr. Christina Hendricks, who looks taller here because he’s skinnier a playing a teenage partier back a decade ago.
‘Sorry I don’t talk to highway hog.’ Marisa Coughlan, one of the late 90’s smart blonde ingenues, is less embarrassing here than in her two other movies. She’s playing a ‘female cop facing sexism in the workforce’ kind of role, and she crosses bureaucratic lines, performs banter where no one laughs at each other and takes a liking to a titular state highway patrolman (Paul Soter, specifically) living in a small, fictional border town called Spursbury, Vermont. She helps him solve, in her own special way, the big drug case that will save the troopers from being slashed from the state budget. Part of the plot involves Canadians as drug supply enemies which, you know, it’s usually the other way around but we do have product to sell on our side too, admittedly.
I’m not sure whether this movie is ambitious or not so I can’t compare it in that yardstick. But ‘stoner frat boy comedy,’ in its early stages? Chandhrasekhar, with his comedy troupe called Broken Lizard, makes his movie look professional in the cinematographic sense. But he underplays the comedy, the camera too distant and the surreal sequences, which probably looked fantastic in the script, are not paced well. Not even sleep deprivation, which is a drug in its own classification with which I’m addicted, can make this funny. Too many dick jokes, unnecessary cursing and weird-for-weird-sakes kind of costumes. This is an almost deal breaking movie to those involved in making it even if yes, the mixed critical reception for this isn’t as bad as I thought. Broken Lizard also made Beerfest, a movie of which I have a sliver of interest because “Saturday Night Live” alum Will Forte stars in that one. And they’re making a sequel.
There’s also a subplot involving a trooper named Farva (Kevin Hefferman) who bounces between patrol work, desk and cleaning duty. These switches make him betray his co-troopers and join the real police force. I mention him to warn you guys that there is gross full male nudity here (sorry if the warning is too late). But at least it’s equaled by partial male nudity. Three times. The director takes one for the team.
And this is funny, Brian Cox being the veteran that he is and playing ‘angry drunk’ effortlessly. Although his musical speaking voice is betraying that he has better training than this movie.
The narrator (Lewis Black) talks about a large family sitting on a table to celebrate their paterfamilias’ (Ron Rifkin) seventieth birthday, describing every one of the father’s children as a series of mistakes. The civility and silence break when the unemployed singer/actress/dancer Cheri (Sarah Silverman) bellows at her younger, successful brother Nathan for writing a novel, also named Peep World, too accurate for her taste. This is best scene of the film, although the scene isn’t finished.
The body of the film is a flashback eighteen hours before this dinner, unsurprisingly revealing this fictional book’s secrets and more. Jack (Michael C. Hall) has a wife (Judy Greer) who faintly swears at him during her sleep, Joel’s (Rainn Wilson)’s big SUV breaks down in the middle of nowhere, Peep World the film is filming in front of Cheri’s home and Nathan is very condescending to his PR agent (Kate Mara). Every sibling has a sexual Achilles’ heel, all used for effective comic relief.
This film also has sincere moments, like the falling out when Jack’s wife finds out he frequents an adult theatre, a scene both well-shot and well blocked. The film eventually heads to the restaurant where cruelty, revelations of decades of hurt feelings and comic reliefs are the main dishes. The cast elevates this funny film, also including Taraji P. Henson who delivers the film’s best line and Geoffrey Arend, the luckiest man on earth. This is lowbrow entertainment at its classiest and best. Rating – 3/5.