Skip to main content

Amy Poehler and Will Ferrell are Miscast in Irredeemable Misfire "The House": Review

Film Review: The House

Image result for the house movie
I have been known to give dumb comedies a pass every once in a while if they make me laugh. If they do their job by being funny, who cares if the film isn’t the greatest. The House is not that type of comedy. The House did not make me laugh once. The House is poorly-made, nonsensical, needlessly violent, all-around terrible excuse for a movie. 

The premise of The House is that suburban parents (played Will Ferrell and Amy Poehler) need money so they can send their daughter to college, so with the help of their friend (Jason Mantzoukas), they open up an illegal casino. It starts off trying to be a satire of suburbia and then shifts to a parody of movies like Casino, but none of it is funny. Part of the problem is it's two majorly miscast leads. Why hire two SNL alumni known for their big, over the top characters to play boring squares? Amy Poehler is someone I have an abundant amount of fondness for, but she has never been worse than she is here. It's an awful performance. On every line reading it feels like she has been directed for maximum unfunniness. Will Ferrell has been pretty hit-or-miss lately, but it is clear he’s most comfortable when playing ridiculous SNL-style characters, not the straight laced boring dad character he plays in The House. The role needed ‘80s era Chevy Chase, not Will Ferrell in the comedic equivalent of a straightjacket. One of the stupidest parts in a movie with a lot of stupid parts is the joke that Ferrell’s character somehow breaks out in sweats at the mere mention of numbers. It makes no sense and is inconsistently used throughout the film. Ferrell and Poehler’s daughter is played by Ryan Simpkins, who looks more like a model than a high school senior. The rest of the film is populated by many, many funny people from TV (including Michaela Watkins, Nick Kroll, Allison Tolman, Cedric Yarbrough, Andy Buckley, Rob Huebel, Lennon Parham, and Sam Richardson) which makes it all the more crazy that none of these people can do anything to elicit a laugh.

First time director Andrew J. Cohen, who co-wrote the script with Brendan O’Brien, fails to do anything interesting visually to try to inject life into the movie. Cohen and O’Brien, whose only other writing credits are the abysmal Neighbors movies and the dreadful Mike and Dave Need Wedding Dates, do not give us anything reason to care about the story because they barely clue us in on who these people are. There’s a scene between Ferrell and his boss, but we never even find out what his job is. Early in the film, it is established that the wife of Mantzoukas’ character left him because of his gambling addiction, which apparently is encouraged by Ferrell and Poehler, and never addressed again. That seems like an odd decision. There are a couple of plot threads that I was expecting to be tied together by the end, but end up being just left in the air. Also, the film has ten year old's conception of what the process of paying for college is actually like. Most frustratingly, spoiler alert, is that the movie ends with the Ferrell and Poehler sending their daughter to college with the money they got from the illegal casino. There are no repercussions for their actions and they learn nothing. So what was the point?

One day I hope Amy Poehler finds a movie role worthy of her talents. Until then, do not go see The House. It is not worth your time. It is a bad movie. Go see a good movie, like The Beguiled or Baby Driver instead. 


What did YOU think of The House? Let me know in the comments below!

Comments

Popular posts from this blog

"My Mind Turns Your Life Into Folklore": Why Taylor Swift's "Gold Rush" Is a Song About Songwriting

"My mind turns your life into folklore." That line, from the song "Gold Rush," is the only time the word "folklore" is spoken on either of Taylor Swift's 2020 records, Folklore and Evermore , the latter of which is where the song appears. The presence of the line indicates that "Gold Rush" is a pivotal song not only in Swift's lockdown duology, but in her maturation as a songwriter.  Swift's early albums often drew heavily from her own experiences, with fans and the media scouring her lyrics for clues as to which ex-boyfriend her numerous breakup songs referred. Her tumultuous dating life made as many headlines as her music, in part because it informed so much of the music. The discourse was often ridiculous and reductive, and thankfully, that period of her career is over (Swift has been in a relationship with the actor Joe Alwyn since 2016).  Both of her 2020 albums have their fair share of autobiographical songs, but they also see

The Ten Best Movies and TV Shows of 2021

  No explanations. No apologies. These are the lists and they ARE definitive.  Top Ten Films 10. The Last Duel (Scott) 9. Halloween Kills (Green) 8. No Sudden Move (Soderbergh) 7. Cry Macho (Eastwood) 6. West Side Story (Spielberg)  5. The Dig (Stone) 4. Barb and Star Go to Vista Del Mar (Greenbaum) 3. CODA (Heder) 2. Bergman Island (Hansen-Løve) 1. The Lost Daughter (Gyllenhaal) Top Ten Television Shows 10. Invasion (AppleTV+) 9. Evil (Paramount+) 8. The Real Housewives of Beverly Hills (Bravo) 7. Ghosts (CBS) 6. Maid (Netflix) 5. It's a Sin (Channel 4 in the UK, HBO Max in the US) 4. Couples Therapy (Showtime) 3. Succession (HBO) 2. Mare of Easttown (HBO) 1. The North Water (BBC Two in the UK, AMC+ in the US)

Paramount+ Review and Breakdown

  Paramount+, the rebranded CBS All Access streaming service from ViacomCBS, launched today. It got me thinking about this photograph. Are you familiar with it?  If you aren't, perhaps you're wondering why Tom Cruise is standing next to Charlton Heston who is standing next to Penny Marshall who is standing to Bob Hope who is standing next to Victor Mature who is standing next to *squints* Elizabeth McGovern who is standing next to Robert De Niro. The whole photo is full of weird combinations like that - Shelley Long next to Jimmy Stewart, Molly Ringwald next to Dorothy Lamour, Gregory Peck next to Debra Winger. This photograph was taken in celebration of Paramount's 75th anniversary in 1987. But you're forgiven if you didn't guess that, because who looks at all these people and thinks immediately that what they all have in common was working for Paramount at one point? Certainly not I.  And therein lies the problem with Paramount+'s marketing strategy. Paramoun