Evil Knievel seemed like a pretty smart guy.
Self-proclaimed stuntman Rod Taylor (Andy Samberg) is preparing for the ultimate jump of his life. Rod plans to clear fifteen buses in an attempt to raise money for his abusive stepfather Frank’s (Ian McShane) life-saving heart operation. He’ll land the jump, get Frank better, and then fight him, hard.
Back in the good old days before YouTube became this huge cash-grab for any 10-year-old with a camera, the Lonely Island were a group of funny peeps that found their success by making dumb, but funny music videos like “D*ck in a Box”, “Jizz in My Pants”, and “Lazy Sunday”, to name a few. They were funny, snappy, honest, and most importantly, catchy-as-hell, showing that parody music can still work.
So yeah, it was only a matter of time before the guys got their movie.
Director Akiva Schaffer makes a flick that seems like what would happen if Will Ferrell and Mel Brooks got together, and had a surrogate baby with Napoleon Dynamite. It’s not a nice mental picture to take but in terms of this flick, it actually works very well. Sometimes the film layers in self-parody, other times, it’s just plain and simple low-brow humor where farting is the main gag, and randomly, it’s just cheap and easy slapstick. The comedy goes all-over-the-place at times, but it works for the most part because the guys never really take it too seriously.
Actually, this film is probably more enjoyable whenever I think of the few memorable scenes in this film where everybody seems like they were on the same page in saying what was, and what wasn’t funny. There’s a funny 80’s ode to the Flashdance scene that shows Samberg running around like a crazy man; there’s a random, but clever rap that’s made out of the word “cool beans”; an argument over who parties in the group that still never got solved; and a hilarious riot scene that comes absolutely out of nowhere, but was the hardest I laughed in the whole movie. I know, spoilers, but hey, I’m being as vague as one man can be.
As for the rest of the film, it doesn’t necessarily struggle as much as it just lingers from scene-to-scene without any real hard-hitting humor. The dialogue is somewhat clever, but also feels like it’s trying too hard to go for that weird, nerdish-like type of humor that hit so well with cult audiences from Nacho Libre and Napoleon Dynamite. Sometimes it can work and keep a film moving at a lightning-quick speed, but it drags things down a bit here and I think that’s what kept me away from remembering everything else that happened. I’m telling you, it was those key scenes that made this film work but everything else in between?
As a leading man, Andy Samberg does a solid job, doing a nice blend between goofy and, surprisingly, assured. It’s obvious that he’s channeling that “man-child” act that Ferrell does so well, but it’s not to the point of where it’s annoying or distracting by any means – it’s funny because Samberg himself is funny. He handles all of the dumb scenes very well and makes a very likable character, even if the guy doesn’t really seem like much of a character as much of a reason to have a person smash into things and mess-up stunts. It’s a shame that his movie career now hasn’t really done much for him, but I still hold-up hope that he’ll make that huge transition one day.
All of his secondary characters are fun to watch too, as they all bring a bunch of light and dumb fun to characters that are there for exactly that. Bill Hader plays the Southerner dummy, Dave, and does his usual act where he’s just an ass the whole time; Danny McBride does a fine job being a destructive asshole that always has to be hitting someone or something in every scene he’s in; Jorma Taccone is funny as Rod’s step-brother, Kevin, and definitely gave me that Napoleon-like character feel; Ian McShane was fun to watch take up a lighter role than we usually see him play, and does fine with his scenes where it’s just him and Rod beating the crap out of each other; and Isla Fisher and Sissy Spacek don’t really do much at all except stand there, look pretty, and just let the boys do all of the fartin’ around.
But now to the real question of Hot Rod: is it a “cult flick”? Well, for one, I don’t think it is, even if there is clearly an audience for it. One of the issues with Hot Rod is that it seems like it’s clearly trying to be another one of Will Ferrell’s vehicles, where he runs around, yells and acts like a child. At one time, that whole act struck gold everywhere it went and every time it showed up, hence why this movie attracted so many people looking for the same thing, but nowadays, it seems like a thing of the past. Ferrell’s movies nowadays show him trying to do something different with his comedic-approach, which is sometimes hit or miss, but audiences, honestly, don’t seem so drawn to that. Hot Rod will probably remain a “cult classic”, by those who saw and loved it back in the day, if only because it was in a time and age when Will Ferrell’s brand was bee’s knees.
Nowadays? Eh. Not so much. Maybe we’re better off for that, maybe we’re not. But either way, it’s definitely something to point out.
Consensus: Hot Rod is not as consistently funny as it would probably hope so, probably because of the ever-changing approach to it’s comedy, but still has plenty of memorable scenes and funny performances that make this an average-comedy, with average-people in it.
7 / 10
Photos Courtesy of: Movpins