Farrelly, Peter

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    ‘Ricky Stanicky’ Review: Best Fiends Forever

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    In this slapdash, off-color comedy directed by Peter Farrelly, three buddies use the same imaginary friend as an excuse to get them out of binds.“Ricky Stanicky,” a sloppy shock comedy by the director Peter Farrelly (of the Oscar-winning “Green Book”), is named for an imaginary friend conjured up by three childhood pals (Zac Efron, Jermaine Fowler and Andrew Santino). As kids, the lads made their fictional buddy take the fall for a Halloween prank gone wrong.Decades later, they’ve rebranded Ricky as a heroic figure who lives in Nairobi, returning to the States only when the guys want an excuse to ditch their significant others for a bros-only vacation. After one weekend trip goes awry, the longtime liars are forced to prove that Ricky exists.That’s the film’s premise. But the only person invested in it is John Cena as Rod, a broke and salacious nightclub performer hired to embody Ricky for a weekend. Playing this filthy-minded, flop-sweating boozehound, Cena barges into the plot with the get-it-while-you-can gusto of a raccoon upending a trash bin. The joke is that Rod takes his paid acting gig seriously, and he boasts a hustler’s gift for sensing what people want him to say. While the high jinks are too haphazard to give him a credible — or heck, even coherent — character arc, Cena is here and there able to seize moments to show us the fissures in his layered personas, a fragile construction of confidence, ego, vulnerability and need.Pity the script itself suffers from a hopeless identity crisis. Since “Ricky Stanicky” made its debut on the 2010 Black List of the best unproduced screenplays, the project has been circled by three other potential Rickys (James Franco, Joaquin Phoenix and Jim Carrey) and passed through too many hands. It now boasts six credited screenwriters yet feels like a jumble of ideas sticky-noted together during a single lunch break. (Kudos to whoever came up with the dig at how little the friends actually know about Nairobi.)When an investment banker (William H. Macy, whose gameness extends through the end credits) offers Ricky a job, the loosey goosey slapstick momentarily aspires to become a social mobility farce. It’s also, briefly and unconvincingly, about traumatic childhoods, stunted relationships, corporate do-gooderism and vapid local news. In a moment of astonishing chutzpah, Rod-as-Ricky also advises people to be their authentic selves.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Champions’ Review: Following the Playbook

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      This film directed by Bobby Farrelly has elements that recall “Kingpin” and “There’s Something About Mary.” But the ratio of tastelessness to sentimentality has been reversed.As “Dumb and Dumber” (1994) nears its 30th anniversary, its directors, Peter and Bobby Farrelly, have settled into what might regrettably be called a “mature phase.”The sibling filmmakers, once the go-to guys for raunchy-sweet comedy in Hollywood, have been making movies separately of late. Peter Farrelly directed “Green Book” (2018), whose best picture Oscar ensured that it will live forever as an exemplar of the academy’s retrogressive taste. Now Bobby Farrelly has turned out his first solo feature, “Champions,” in which an ill-tempered basketball coach is court-ordered to supervise a team of intellectually disabled athletes.It sounds, in outline, like material the Farrellys would have once treated with blithe irreverence. In “There’s Something About Mary” (1998), Matt Dillon’s character tried to impress Cameron Diaz’s by lying about exactly that kind of community service. And it stars Woody Harrelson, of the brothers’ “Kingpin” (1996). But this time, the ratio of tastelessness to sentimentality has been reversed.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.The Tom Cruise Factor: Stars were starstruck when the “Top Gun: Maverick” headliner showed up at the Oscar nominees luncheon.An Andrea Riseborough FAQ: Confused about the brouhaha surrounding the best actress nominee? We explain why her nod was controversial.Sundance and the Oscars: Which films from the festival could follow “CODA” to the 2024 Academy Awards.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.Harrelson plays Marcus, an assistant basketball coach in Des Moines. Marcus’s problem, as the head coach he’s worked for (Ernie Hudson) explains, is that he never gets to know his players as people. (“Are we living in ‘Hoosiers’ now?” Marcus asks him, in a lame acknowledgment of the kinds of clichés the movie knows it’s repeating.)The protagonist’s drunken collision with a parked police car lands him in hot water with a judge (Alex Castillo) nicknamed Hanging Mary, who will let him avoid prison if he coaches the Friends, a Special Olympics team at a recreation center. Marcus initially thumbs his nose at the players, who all have trademark habits. Never showering. Always shooting backward from half-court. Knowing exactly what time a flight from Portland to Chicago should be flying overhead.But while the Farrellys of three decades ago gleefully cut against the grain of political correctness, Bobby this time seems to have embraced it, making a celebration of sensitivity and empowerment that is kindhearted without ever risking touching a comic third rail. The dispiriting experience of watching “Champions” is slowly realizing that, notwithstanding an off-color line here or there (a player with Down syndrome introduces himself as “your homie with an extra chromie”), it’s exactly the sort of formulaic crowd-pleaser that just about anybody might have directed.In fact, someone has: This is a remake of “Campeones,” a generally dire 2018 movie from Spain that won the top prize at the country’s Goya Awards but went unreleased theatrically here. The new screenplay, by Mark Rizzo, sticks closely to the original, though most of the changes (amping up the Marcus character’s mercenary careerism, revising a subplot about his love life) are improvements. The new version is certainly better-made and doesn’t gawk as cruelly at the Friends.The best case for “Champions” is made by the actors who play them, especially Madison Tevlin as the brassy Cosentino, the team’s sole female player, and Kevin Iannucci as Johnny, the shower resister. Conveniently, Johnny turns out to be the brother of an actress (Kaitlin Olson) whom Harrelson, before getting his assignment, had previously hooked up with on Tinder.If the romance thread gets the job done, Farrelly can’t do much with the sports movie tropes. Endless montages and near-random, what-decade-is-this? song choices (“Hey Ya!,” “Unbelievable”) chart the team’s progress. Marcus delivers a big-game locker room speech in which he tells the players that, win or lose, they are already champions, because of what they put up with every day. Depressingly, it’s not a joke.ChampionsRated PG-13. Drunken driving, sexual innuendo. Running time: 2 hours 3 minutes. In theaters. More

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      ‘The Greatest Beer Run Ever’ Review: Vietnam on the Rocks

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      Zac Efron plays a man trying to deliver brewskis to his Vietnam War buddies in Peter Farrelly’s film.In the early winter of 1968, the 26-year-old civilian Chickie Donohue arrived in Vietnam with a duffel bag of brewskis and an errand that could be reasonably called idiotic, patronizing, suicidal — and, even, as this shaggily appealing comedy insists, “The Greatest Beer Run Ever.” Donohue (Zac Efron) has been double dog dared by his drinking buddies back home in Inwood, then a working-class Irish neighborhood in Manhattan, to hand-deliver a beer to four of their buddies serving in the war. “A sudsy thank you card!” Donohue exclaims, delighted by his own moxie. His farcical mission is mostly true and just the sort of crowd-pleaser about lunkhead enlightenment that intoxicates the director Peter Farrelly in the wake of his Oscar for “Green Book.”Farrelly and his co-writers, Brian Currie and Pete Jones, see the national id reflected in Donohue’s patriotic, ill-reasoned rationale for his quest, which is clearly a few cans short of a, you know. To this layabout slacker, his blustering pals and their jingoistic barkeep, the Colonel (Bill Murray, near-invisible under a gruff flattop), a pull-tab of domestic ale supports the troops by reminding the fighters abroad that America reigns supreme. For a while, Farrelly feigns to agree; the film starts like a Super Bowl commercial and ends like a hangover.When Donohue sets sail for Saigon, public opinion supports the conflict, an innocence Efron embodies by hitchhiking toward the front with a schmucky grin affixed like a shield. (Grunts one soldier, “Every once in a while, you run into a guy who’s too dumb to get killed.”) But by the time Donohue returns home, the Tet offensive — which he witnesses — will have turned the majority of Americans against the war, including him. After all, if a dingbat like him is able to bluff his way past officers to get to the battlefield, things are not under control.The script is grounded in Donohue’s memoir of the same name (written with J.T. Molloy) and captures his bravado. (“I was a four-star general when it came to slinging BS,” he writes.) While the film makes his onscreen portrayal more oblivious, it backs his claim to have seen a United States tank blow a hole in the wall of its own embassy, only to later blame the blast on the Viet Cong.A local traffic cop (Kevin K. Tran) and hard-living photojournalist (Russell Crowe with a brusque, sleeves-rolled-up cynicism) are invented amalgamations of the many people who stepped in to save Donohue’s neck. (If pressed, the movie would rather label its protagonist a dangerous distraction over a hero.) To heighten the tension — as well as extend empathy toward the Vietnamese villagers — Farrelly also concocts a scene where Donohue is forced to hide in the jungle from his own countrymen.A few horrors are embellished from the book, particularly those that inspire the cinematographer Sean Porter to shoot in dramatic slow motion: a herd of napalmed elephants, a prisoner plummeting headfirst from a helicopter, a wounded soldier backlit by flames. Otherwise, the film’s style is, like its subject, stubbornly chipper (albeit with a marvelous psychedelic rock soundtrack that pulls from lesser-known acts like The Electric Prunes). Depth comes from Efron’s visible difficulty maintaining a smile as he comes to sense that he’s crossed the ocean only to discover a permanent gulf between him and his childhood friends. They’ve endured agonies he’ll never understand — and a barfly like him can’t deliver a cheers that will set things right.The Greatest Beer Run EverRated R for language and violence. Running time: 2 hours 6 minutes. In theaters. More