Director: Todd Phillips
Starring: Robert Downey Jr, Zach Galifianakis, Michelle Monaghan
Another excellent review by Rob Nijman.
Todd Phillips, over the last ten years, wrote and directed the type of comedy that you either love, or just can’t seem to warm up to. His movies typically involve the immaturity of male camaraderie, which tends to serve a certain demographic – Old School and Starsky & Hutch are good examples. Since the huge success of The Hangover, he has been supported by a wider audience though. His drunken adventure in Las Vegas raked in about half a billion dollars at the international box office – quite unusual for a comedy without any cartoon characters, let alone an R-rated one. He himself called the project ‘my Star Wars’, as he waived his usual salary and received a percentage of the gross instead – thus pocketing a lot of money. Another reason to keep an eye on the man and his future work: the freedom and opportunities such a financial situation tends to offer. When he co-wrote the script for Due Date, he wanted to direct the movie if Robert Downey Jr. and Zach Galifianakis were cast in the lead roles. Which is exactly what happened.
In Due Date, Peter (Downey Jr.) and Ethan (Galifianakis) are traveling from Atlanta to Los Angeles independently of one another. Peter because his wife will give birth to their first child within the next few days, Ethan because he wants to pursue a career in Hollywood. They first meet as their taxis collide at the airport, and later on when they’re on the same plane, of which they get kicked off due to Ethan repetitively talking about bombs and terrorism – never a good idea. Also, it’s a plot device that becomes tedious almost instantly, because the situation is more strained than it is comical. Meanwhile Peter’s luggage (including his wallet) is already en route to LA, which leaves him no other choice than teaming up with his annoying new acquaintance. With much reluctance, he hops into Ethan’s rental car, joined by a looming atmosphere of discomfort and incompatibility, a rather predictable premise that’ll soon spin horribly and unmistakably out of control, and an nigh unnecessary dog called Sonny.
The adventure that unfolds takes a rather obvious turn then, and feels like a somewhat mandatory process based on a plot that’s just a bit too transparent. Two completely opposite and hence conflicting characters are bound to each other for the next two thousand miles, with a masturbating dog in their midst and a coffee can containing the ashes of Ethan’s recently deceased father in the trunk. Cue a few jokes and scenes you’ve either seen somewhere else, or completely expected anyway – partly because you’re familiar with Phillips’ earlier work, and the fact he marches in several of his usual supporting roles to make sure you’re reminded of this (Matt Walsh, Juliette Lewis and his obligatory personal cameo, to name a few).
As the journey progresses though, the story slowly gains momentum and Phillips proves yet again he’s an unnecessarily gifted expert in telling one. Because comedy that is best enjoyed with your mates and maybe a few beers doesn’t have to be shot so strikingly, or scored so interestingly – but this is nonetheless very much the case. A fine attribute, which the director showcased earlier with The Hangover, although that one had a consistently higher level of humor and was scripted more efficiently – Due Date takes it time, and some of the better jokes are kept for the mid-second and entire third act. The most appealing aspect then, is when the ensuing events about halfway through become just ridiculous enough for you to fully start suspending belief, and start enjoying the improbable trip for what it is – no more, no less. Which is especially agreeable since Ethan is such an unlikely character (as was Galifianakis’ Alan in the movie that skyrocketed his career) that needs you to adjust your senses. While the two men slowly start to adjust to each other, their bizarre set of circumstances and the number of cars they tear through in their quest to get west, the movie gets its wings and the audience is treated to the kind of comedy for which it was invited. In large part because the two actors fit their parts, and interact like clockwork. The end result is a wild and spectacularly ludicrous journey across the U.S., and even through a small part of Mexico (‘I thought it said “Texaco”, I need gas!’) for which Road Trip would ultimately have been a more suitable title – if Phillips hadn’t made that movie ten years prior. The purpose of this trip may be a more mature one, the male characters and their absurd complications en route absolutely are not. And that’s probably a good thing, since it’s an approach Todd Phillips and his usual team of collaborators know how to handle best.
