2013-05-21T10:51:29-04:00 Naomi Ekperigin http://www.news.moviefone.com/author/index.php?author=naomi-ekperigin Copyright 2008, HuffingtonPost.com, Inc. HuffingtonPost Blogger Feed for Naomi Ekperigin Good old fashioned elbow grease. tag:www.huffingtonpost.com,2012:/theblog//3.1760943 2012-08-09T13:34:08-04:00 2012-10-09T05:12:04-04:00

Naomi Ekperigin http://www.huffingtonpost.com/naomi-ekperigin/

OK, so here's what you need to know about me before reading this review of The Campaign: I think Will Ferrell is a brilliant man with an enticing halfro and Zach Galifianakis is a demigod. So, you know, this review might be a bit biased, but I assure you there are no spoilers.

With two of the strongest comedic actors working today, it's easy to think you know what you're going to get when you walk in the theater to see The Campaign. And the film definitely meets expectations, with Ferrell's hairy chest getting plenty of screen time and Zach G's unpredictable brain serving up tons of randomness. But The Campaign really stands out when it comes to the unexpected surprises and nuances* in the characters. (Cameos by Wolf 'the Blitz' Blitzer, Chris 'I LOVE YELLING SO MUCH' Matthews, 'Take a long walk off of a short' Piers Morgan, and other pundits add the social commentary needed to help elevate the film without directly commenting on the specifics of the upcoming elections.)

With the opening line of "America, Jesus, and Freedom," one instantly expects the beady-eyed George Bush impersonation that Ferrell perfected on SNL, but his Cam Brady more closely resembles -- at least, outwardly -- the polished John Edwards. What spews from his mouth as he devolves into pure venom and stupidity, however, is the perfect combination of the best of every SNL character that Ferrell ever played: Selfish, childish, self-centered, and anything but tactful, Cam Brady is the perfect villain, one you love to see fail over and over again.

Galifianakis' Marty Huggins clearly draws from his "twin brother" Seth Galifianakis, but Seth has been due for his moment in the sun. His evolution from effeminate man-boy to slightly less effeminate man-tween works well and showcases his ability to play things with more subtleties. Galifianakis' characters are all united by a dignity that doesn't fit their ridiculousness. Whether holding a petite pug in The Campaign (which, by the way, was the finest canine acting I've seen since Dog the Bounty Hunter) or arranging drug deals in The Hangover, he always deserves to be there, and I don't think audiences disagree.

Speaking of people who deserve to be there, I must take a moment to honor the tour-de-force performance of Dylan McDermott. As campaign manager Tim Wattley, he's the season one Don Draper to Huggins' Peggy Olsen. With every hilarious gaze and soul-crushing pep talk, steely-eyed McDermott lets the comedy world know that when Jon Hamm's on vacay, he's the guy to call.

(Seriously, McDermott has redeemed himself after American Horror Story, and for that I am pleased.)

(Also, sidebar: I cannot tell you how many times I thought Marty Huggins and Tim Wattley were going to kiss; I was on the edge of my seat.)

And I must also give a heartfelt shout-out to Karen Maruyama who, as housekeeper Ms. Yao, steals the movie and just gained a new stalker in the form of ME.

The Campaign keeps a brisk pace, never seeming self-indulgent (which, if you've seen The Hangover films, is easy to do). Utilizing audience expectations and knowledge of the actors, director Jay Roach employs two key montage sequences that help to make the 87-minute running time feel satisfying. All of which is to say: I think you need to go see it post-haste, obvs. At the very least, do it for America. (Or Jesus and Freedom, if you must.)

* Yes, I wrote 'nuances' in an article about a Jay Roach film. You're welcome.]]> tag:www.huffingtonpost.com,2012:/theblog//3.1184094 2012-01-10T08:13:01-05:00 2012-03-11T05:12:01-04:00

Naomi Ekperigin http://www.huffingtonpost.com/naomi-ekperigin/ OK, Mission: Impossible -- Ghost Protocol has been out for almost a month. The reviews are in, the money has been made. Now I'd like to put in my two cents.

As a blacktress, I have taken a range of classes to improve my craft. In several, there has been one rule that was stressed time and time again: Keep It Simple, Stupid! In other words: Don't spend half the time hinting at ideas that your scene partner -- and the audience -- won't be able to decipher. Don't add on layer upon layer of complex backstory that no one will remember. Don't use a paragraph of dialogue where a sentence will do.

Tom Cruise, an actor with a long and illustrious career -- and control issues, to boot -- must have heard this adage many a time. Why then, was Mission: Impossible -- Ghost Protocol, structured like an unsatisfying game of Sudoku? Granted, it was moderate-level Sudoku, but Sudoku nonetheless.

I've been attacked for my lack of love for MI4 -- and Lord knows I wanted to love it. Hand-to-hand combat, quick editing, gadgets and disguises -- it's enough to make a gal swoon. But why, then, did the writers decide to dilute the fun with energy-sapping subplots that offered little to no payoff?

"What do you expect?" I've been told over and over. "It's an action film -- don't make it more than it is." But guys, I'm not the one making it more than it is!!! It's the writers! MI3 was released more than 5 years ago. I don't know about you, but I didn't go into the latest film still reeling from the previous one's effects. So when Brandt makes his big confession and Julia Mead gives a gentle wave, it felt forced.

"But Tom Cruise did his own stunts!" the lynch mob has cried. (OK, it was one person, but in my head it's a lynch mob. #dramaqueen) "That's AMAZING!"

Yes, it's amazing what one can do at a high Operating Thetan level. So why take away from the action with Jane Carter's completely uninteresting side plots? Two minutes of a girl fight and some gorgeous saris don't make up for convoluted and lagging subplots.

Perhaps it's because movie tickets have gone up to a rage-inspiring $13.50 in some places. If a studio wants to get people away from their Netflix and into a theater, a film has got to be worth it. You know, 2 hours and 13 minutes. If that's 2 hours and 13 minutes of explosions I could never see in real life; stunts I couldn't even pretend to do; and the wittiest of banter; then I'm all for it. If it's a Nicholas Sparks novel on steroids, well... not so much.

Look, I can't tell you the number of times I've initiated ghost protocol in my own life -- sometimes you gotta wash your hands of a situation and avert your eyes. I get it, IMF. I'm on your side. But why couldn't I have more Benji Dunn, more moments of defying gravity, and less forced melodrama? After all, it's an action film, right? Why make it more than it is?]]>