On any given week, the evidence of cannibalization in the American film industry is amply on parade with many new releases (especially during the summer months) that capitalize on the success of bygone hits. The incursion of sequels, remakes and cross-media adaptations might lend more cynical types to conclude there was a paucity of imagination, at the very least, on an executive level.
This week’s retread of sorts is Dumb and Dumberer: When Harry Met Lloyd, a prequel to the 1994 gross out success that cemented Jim Carrey’s stardom and put filmmakers Peter and Bobby Farrelly on the map. Too much time and stratospheric fees provided hurdles that could not be cleared in reteaming Carrey, Jeff Daniels and the Farrellys. The not terribly satisfying alternative is to roll the clock backward and cast performers that, with a little bit of makeup, could pass for younger versions of the original actors.
There’s not a lot to say pro or con about D & Derer. It’s competently made with the sort of production values one is tempted to say are too good or squandered for this sort of material. The cast is more than acceptable in roles that require stereotype rather than dimension and the entire affair moves along at a clip. However, it is not inspired or laugh out loud funny.
In an effort to recall the first film’s appeal, I went into the files and pulled out the review what I wrote. It said: “a flat-out celebration of stupidity, bodily functions and pratfalls. Yet the wholeheartedness of this descent into crude and rude humor is so good-natured and precise that it’s hard not to partake in the guilty pleasures of the exercise.”
Aside from the surprising quotably of the critique, I was reminded that Dumb and Dumber was a film whose creators were not afraid to take the material to extremes. It had the thrill of a first-rate tight rope act where the balancer milks every ounce of audience anxiety. The sequel plays it safe and to that end defeats the purpose and intent of the film what inspired it.
Harry (Derek Richardson) and Lloyd (Eric Christian Olsen) meet cute in the tradition of countless romantic comedies and immediately one knows that director and co-writer Troy Miller has the wrong take on the material. Yes, the prequel has slapstick and bawdy body references but at its core want to be liked and accepted. Rachel Nichols is an appealing girl next door and Eugene Levy and Cheri Oteri are stock company villains with periodic clever asides that will be easily apprehended.
There is never even a remote sense of threat, literally or figuratively. The filmmakers appear to have also studied the pedestrian Revenge of the Nerds and opted for soppy sentiment and, for the sake of safety, put a net under their movie. Domage!
A New Line release of a Brad Krevoy/Charles Wessler/Steve Stabler production and a Burg/Koules and Dakota Pictures production. Produced by Oren Koules. Director, Troy Miller. Screenplay, Robert Brener, Miller, based upon characters created by Peter and Bobby Farrelly, Bennett Yellin. Camera, Anthony Richmond. Editor, Lawrence Jordan. Music, Eban Schletter. Production design, Paul Huggins. Costumes, Susanna Puisto.
Eric Christian Olsen (Lloyd Christmas), Derek Richardson (Harry Dunne), Rachel Nichols (Jessica Matthews), Eugene Levy (Principal Collins), Cheri Oteri (Ms. Heller), Luis Guzman (Ray), Mimi Rogers (Mrs. Dunne), Elden Henson (Turk).
Reviewed: June 13, 2003
