Spring Break
'Walk Hard' is hardly an entertaining film
Samantha Urban, Associate Entertainment Editor, surban@smu.edu
Issue date: 12/10/07 Section: Entertainment
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"Walk Hard: The Dewey Cox Story" is stupid. Let's get that straight right off the bat. So before you go catch the new flick from star John C. Reilly ("Chicago," "Talledega Nights: The Ballad of Ricky Bobby") and producer Judd Apatow ("The 40-Year-Old Virgin, "Knocked Up," "Superbad"), just suspend any expectations you might have. You'll have a much better time.
"Walk Hard" follows its titular character, Dewey Cox (Reilly) from childhood on, as he becomes a world-famous musician. As Dewey progresses through every imaginable stage of rock 'n' roll from the 1950s through the 1980s, he falls in love with a backup singer named Darlene (Jenna Fischer, "Blades of Glory," TV's "The Office").
Essentially, if you've seen "Walk the Line," "Ray," "The U.S. vs. John Lennon" or any other biopic or documentary about a musician, you can follow the basic plot of "Walk Hard." The problem with "Walk Hard" is simply that it's not very funny. If it weren't for the insane number of high-profile cameos, it would play out like another entry in the "Scary Movie" series. First "Scary Movie," then "Date Movie," then "Epic Movie" and now this film. "Walk Hard" could be titled "Biopic" or "Music Movie" and you'd be more prepared for the film that follows.
That's not to say "Walk Hard" is horrible. Not by a long shot. The performances and direction are definitely in line with Apatow's other comedies, which are a cut above most comedy movies made these days. The music of the film is especially delightful with subversive lyrics placed in familiar genre melodies. Every genre or artist reference through music in the film has a spot-on execution, particularly the song that evokes the style of Bob Dylan.
John C. Reilly carries the film well, with a childlike stupidity that would rival Homer Simpson. Reilly acts and reacts to the chaos around him well, and is charming enough to make the audience root for him.
Jenna Fischer is not given much to do, but when she is given a particularly good line or action, she knocks it out of the park. Fischer's lusty and busty Darlene is a far cry from "The Office's" mild-mannered Pam, and the character gives Fischer a chance to diversify her repertoire.
"Walk Hard" follows its titular character, Dewey Cox (Reilly) from childhood on, as he becomes a world-famous musician. As Dewey progresses through every imaginable stage of rock 'n' roll from the 1950s through the 1980s, he falls in love with a backup singer named Darlene (Jenna Fischer, "Blades of Glory," TV's "The Office").
Essentially, if you've seen "Walk the Line," "Ray," "The U.S. vs. John Lennon" or any other biopic or documentary about a musician, you can follow the basic plot of "Walk Hard." The problem with "Walk Hard" is simply that it's not very funny. If it weren't for the insane number of high-profile cameos, it would play out like another entry in the "Scary Movie" series. First "Scary Movie," then "Date Movie," then "Epic Movie" and now this film. "Walk Hard" could be titled "Biopic" or "Music Movie" and you'd be more prepared for the film that follows.
That's not to say "Walk Hard" is horrible. Not by a long shot. The performances and direction are definitely in line with Apatow's other comedies, which are a cut above most comedy movies made these days. The music of the film is especially delightful with subversive lyrics placed in familiar genre melodies. Every genre or artist reference through music in the film has a spot-on execution, particularly the song that evokes the style of Bob Dylan.
John C. Reilly carries the film well, with a childlike stupidity that would rival Homer Simpson. Reilly acts and reacts to the chaos around him well, and is charming enough to make the audience root for him.
Jenna Fischer is not given much to do, but when she is given a particularly good line or action, she knocks it out of the park. Fischer's lusty and busty Darlene is a far cry from "The Office's" mild-mannered Pam, and the character gives Fischer a chance to diversify her repertoire.
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