Review by Derrick Carter
Running Time: 1 hour 28 minutes
MPAA Rating: R for Language throughout, Sexual References, Drug Use, some Violence and brief Nudity
Directed by: Andrew Jay Cohen
Written by: Brendan O’Brien & Andrew Jay Cohen
Starring: Will Ferrell, Amy Poehler, Jason Mantzoukas, Ryan Simpkins, Nick Kroll, Allison Tolman, Rob Huebel & Jeremy Renner
Despite starring in hilarious comedies throughout the 2000s, Will Ferrell has been in some real stinkers lately. With the exception of a few animated comedies (MEGAMIND, THE LEGO MOVIE), Ferrell’s recent output has included stale attempts at recapturing past comedic magic (ANCHORMAN 2), lazy executions of fairly funny premises (GET HARD), and some of the worst films of his entire career (DADDY’S HOME). I was hoping that THE HOUSE might wind up being Ferrell’s return to form. The premise was funny, the cast looked solid, and the R-rating allowed extra room for irreverent hijinks. THE HOUSE falls between GET HARD and DADDY’S HOME on Ferrell’s cinematic totem pole. This film is mostly lazy and lots of dull patches frequently overshadow its better moments.
Scott (Will Ferrell) and Kate (Amy Poehler) are ecstatic for their daughter Alex (Ryan Simpkins) to head off to college. Alex has been accepted into a prestigious university, but Scott and Kate realize that they don’t have the cash to cover her tuition. To make matters even worse, the town’s annual scholarship program has been shut town by shady councilman Bob (Nick Kroll). Things might turn around though, because Scott and Kate’s eccentric friend Frank (Jason Mantzoukas) has a brilliant idea to raise lots of funds in a short amount of time. Frank turns his house into an illegal underground casino, while Scott and Kate become his business partners. Wacky hijinks ensue.
I’ll address THE HOUSE’s positive qualities first because there are a few redeeming factors. One of those factors arrives in Jason Mantzoukas. Though the selling points of this film were Ferrell and Poehler, Mantzoukas steals most of the show as the overly eccentric Frank. A subplot about him trying to win back his recently separated wife is tedious, but Mantzoukas even makes these scenes watchable in his absurd line delivery and over-the-top body language. Mantzoukas was one of the best things about last year’s not-as-bad-as-they-said-it-was DIRTY GRANDPA and he’s easily one of the best things in THE HOUSE. Maybe, Mantzoukas’s roles are simply meant to improve low-quality comedies, because he seems to be doing a bang-up job so far.
I’d be lying if I said that THE HOUSE didn’t have a couple of funny scenes. The best bit has already been given away by the red band trailer, though the actual scene lasts longer than the 30 seconds and had me cracking up. If the entire film was as funny as that single sequence, then this would be a very different review. Unfortunately, this scene and a couple of other bits (mostly involving Mantzoukas) are the only things worth praising about THE HOUSE. The rest of this film feels boring, lame, and lazy.
Even though they are the main selling points, Ferrell and Poehler really don’t have much to do in this film. Aside from occasionally mugging at the camera, their married couple characters mostly remain straight-faced and don’t receive many great jokes. We see them acting like dorky parents with their daughter. We watch as they worry and celebrate with Mantzoukas. By the time the film tries to throw them into an over-the-top style, it feels drastically out-of-place and unearned. Most films like this have a natural progression as a character transforms from a boring suburban nobody to a stylish interesting somebody. THE HOUSE never executes that story arc in a natural or funny way, so the viewer is left to roll their eyes and remain completely disconnected towards these characters.
THE HOUSE’s plot troubles don’t stop at its unconvincing story arcs for the two dimwitted protagonists though, because a lot of this film feels like filler. It’s as if somebody was brainstorming what happens in Las Vegas casinos and decided to write those ideas down…and then just threw them into the movie with no rhyme or reason. Stand-up comedians, air bars, massages, fight night, and CASINO-style torture all just come and go, leaving few laughs to be found. Bits of this film might have served better as Funny or Die/College Humor web skits…as opposed to scenes in a comedy that was funded on 40 million and had big names attached to it. A subplot with an unnecessary bland antagonist feels like an afterthought, while Jeremy Renner as a mobster (who shows up for two scenes) would have been a much better baddie to focus on.
THE HOUSE is a missed opportunity. The pieces were there to craft a really funny R-rated comedy, something to draw in crowds who wanted to laugh in 2017’s lackluster summer movie season, and a possible comeback film for Ferrell. Instead, THE HOUSE is lazy, uninspired, and drowns out its funny bits with lots of filler and a script that feels like it never got past the brainstorming stage. There are loads of better Will Ferrell movies and far funnier R-rated comedies out there. If you bet on this flick, everybody loses.