Just over a decade ago, Peter and Bobby Farrelly were the dick-and-fart darlings of comedy. But after a number of mis-steps (Shallow Hal, Stuck On You) the brothers never returned to the dizzy heights of Kingpin and There’s Something About Mary. And though their latest effort, Hall Pass, doesn’t quite live up those standards either, it has enough charm and wit to remind audiences why the brothers were so revered all those years ago.
The story follows the misadventures of Rick and Fred, two hapless man-children who are given the week off from marriage when their wives become tired of their sex-obsessed behaviour (such as jerking off in the family car, for instance). Taking this as an opportunity to bed any and every woman possible, the two feckless horn-dogs set about sewing their not-so-wild oats.
Though the plot trundles along predictably, the characters just about manage to maintain interest, which may have more to do with the performances than the generic screenwriting. With good comedy turns from the ever-reliable Owen Wilson and Jason Sudeikis, the leads characters are engaging enough if slightly two-dimensional. The supporting actors are also sufficient, however, the real gem of the movie is Stephen Merchant, who makes his Hollywood debut here. Merchant shines – as ever – in this role, albeit briefly. Though his character isn’t featured as prominently as the UK ad campaign would suggest, it’s still refreshing to hear a Bristol accent in a Hollywood production. And stick around for the credits, as the Merchant steals the movie with a hilarious bonus sequence.
The gags, as is always the case with the Farrellys, are the focus of the movie, and though they don’t come as thick and fast as in previous efforts, there are enough laugh-out-loud moments to keep the movie afloat. It does feel like a slight departure from the Farrelly’s standard politically-incorrect fare, though they sometimes wander back to their gross-out roots (an explosive toilet moment and monstrous penis to name but a few).
Overall, Hall Pass is something of a return to form for the brothers, and though it is unlikely to remembered as their finest hour, it is far from their worst. There is little in the way of breaking new ground, but the familiar characters and inevitable conclusion are satisfying nonetheless. The comedy moments hit the right spot, and though the whole thing has the Hollywood sugar coating, it never veers toward the wrong side of cheesy. What is uncertain is whether this will be the start of a new run of hits for the Farrelly Brothers; what is certain is that this is the start of a new career path for our own Stephen Merchant. Now there’s a prospect no amount of getting caught jerking off in the car can ruin.
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