Step Brothers

Step Brothers – 2008

This summer, more frequently most it seems, a surge of comedies have graced (or not so gracefully) the silver screen. Complimenting this divergent behavior is the number of films that either strike home with a jab to the ribs, or droop into theatres with a resounding plop. Step Brothers, from Anchorman and Talladega Nights conductor Adam McKay starring Will Ferrel and John C. Reilly, is the first comedy of the season to be neither a pure dud nor a howling success; it is instead somewhat erratic in its achievements and pure mediocrity. Like in this years earlier film Drillbit Taylor, Judd Apatow’s contributions seem negligible and are hardly prolific; but perhaps it is better in the case of a movie of this caliber to distance oneself as much as possible. Thankfully there are a number of gags that do hit home, and as such your time is not totally wasted, but unfortunately you may feel your money was if you choose to see this venture on the big screen.

Although unrelentingly immature, this is not the films main handicap. That designation, unfortunately, belongs to the overlying mean spiritedness that inhibits constant laughter, stunts the growth of likable characters and, really, just makes it a less enjoyable experience. When the mood does shift in the final act (and the film does get better as it progresses) it is such a blunt conversion, it is bound to set most off balance. Despite my personal fancy for the conclusion, it is this abrupt tonal digression that ultimately tipped the scales towards my negative recommendation. (Although it is my no means the bulk of the reason) On a less negative tone, Step Brothers is substantially better then Will Ferrel’s earlier offering Semi-Pro which was unfalteringly sloppy and devoid of passion; at least there seems to be a heart (ironic with such a tone) to keep the audience engaged.

We are introduced to every girls worst nightmare; two losers who lie on the couch and eat junk food…and in their parents homes no less; ouch. We have Brennan (Ferrel) son to a divorced mother (Mary Steenburgen) and Dale (Reilly) son to a widowed father (Richard Jenkins) who drain every ounce of energy these two have. That is until these two forty-going-on-seven-year-olds parents’ meet during a conference and before you can even hear the wedding bells the two are off and hitched. Despite many similarities, resentment is the name of the game for the two step brothers and both up the ante to both leach their parents’ respect, and crush the other. It is this part of the film that stands on treacherous ground and sets a poor tone for the concluding acts, despite some very funny slapstick skits.

In pure by-the-books fashion these two, after being forced to look for work see their commonalities, and pair up against both their parents and the job market. Ferrel’s and Reilly’s chemistry is excellent and the two play off each other nicely. There is nice supporting work from both Jenkins and Steenburgen, but as I alluded to, everyone is just too ornery to like; and the immaturity the two sons display at times, is enough to root for a double homicide. It is also not the best indication when the funniest moment of the movie is from a thirty second cameo by Seth Rogen, and not by the two leads who share almost all the screen time. Will Ferrel has made his career from stretching one joke premises to their snapping point, but strangely, it does not feel the case here. Perhaps the performances and third act one-eighty keep the premise fresh enough, if not totally coherent.

Despite the somewhat depressing nature of the subject matter, the most joyous aspect to be found here is that both Ferrel and Reilly back on form after their respective flops of Semi-Pro and The Promotion. These two will most likely have a long career together, and the best part comes two-fold; firstly that Reilly is getting the leading work he deserves, and secondly that Reilly’s presence alongside Ferrel adds a fresh jolt to his waning material.