By Todd Phillip’s latest is an entertaining and largely heartfelt film that surpasses 2009’s The Hangover. Robert Downey, Jr., who I’ve gotten used to playing either cocky, mainstream (Iron Man) or indie fey (Wonder Boys) plays a fantastic straight man to Zach Galifianakis’s flamboyant fool. Peter is your average (ruggedly handsome, architect) expectant father: nervous and in need of a good psyching up. Sadly, we see him giving himself the old pep talk in the opening scene. On Peter’s journey home to L.A. to witness the birth of his first child, we see this anxious but controlled exterior tested to its limit.
Todd Phillip’s latest is an entertaining and largely heartfelt film that surpasses 2009’s The Hangover. Robert Downey, Jr., who I’ve gotten used to playing either cocky, mainstream (Iron Man) or indie fey (Wonder Boys) plays a fantastic straight man to Zach Galifianakis’s flamboyant fool. Peter is your average (ruggedly handsome, architect) expectant father: nervous and in need of a good psyching up. Sadly, we see him giving himself the old pep talk in the opening scene. On Peter’s journey home to L.A. to witness the birth of his first child, we see this anxious but controlled exterior tested to its limit.{{page_break}}
To Peter’s ying, is Galifianakis’s yang, Ethan Tremblay, the straightlaced architect’s opposite in every way. Compare Peter’s styled bed-head to Ethan’s ridiculous perm, or his dapper suit to Ethan’s too-tight Jonas Brothers costume. Galifianakis plays a wannabe actor–on his way to “Hollywood”–which means he is also the unemployed oaf to Downey, Jr’s responsible working man. I have a little trouble processing Galifiankis as any person other than Galifiankis. I don’t think a persona like the one he has created exists elsewhere
–like some of Will Ferrel’s or Adam Sandler’s career-making characters, Galifianakis plays a constructed individual that is too individual and specific to his sense of humour to inspire identification. That sounds like a curse, but the Anchormen and Michael Scotts of this world live on long past their career prognoses.
Though Galifianakis has a long list of credits to his name, he is earning notoriety for playing socially inept, semi-functioning buffoons, who are lovable because they're misunderstood. Between Two Ferns and Bored to Death have shown me some of Galifianakis’ diversity; he plays a convincing adult in the latter. However, his role in The Hangover was laughter candy for the masses built on inappropriate behavior and borderline developmental affectation. I didn’t find “Alan,” or the rest of the film, believable, because it is a representation of no other being but Galifianakis in a role tailored to him, in a road trip/fantasy adventure movie. I was pleased to find that Due Date is not The Hangover 1.5, as I had previously christened it. It does pick up where the other left off–late for wedding; late for birth. But while the commitment and love that marriage represents is lost sight of in The Hangover, Phillip’s never takes his focus off the theme of parenthood.
Believe it or not, this movie is full of symbolism. Not only does Galifianakis carry the ashes of his father (parent-child combo #1), he also has his own dependent, Sonny, a French bulldog (#2). (Ask me sometime about flat-faced dog-love. I have a surprising amount to say on the subject.) This parent-child connection is emphasized in the gaggiest of gags in the film–the parallel masturbations of pet owner and pet, implying a ‘parental’ influence on the slightly less intelligent being. I would dismiss this scene as gratuitous, but I respect Phillips for pursuing his central thesis so thoroughly. Even in the typical, hit-someone-you-shouldn’t-scene–e.g., a woman, old person–the taboo strike involves a child. Finally, I can appreciate Ethan Tremblay and the character’s story-propelling ignorance in Due Date, because it is exactly that juvenile behavior that makes him the perfect test for novice parent, Peter (#3). This dynamic is what makes this movie better than its predecessor and a good movie in its own right.
Michelle Monaghan, who kissed and banged Downey, Jr. once before (Kiss Kiss Bang Bang), joins him in Due Date as Peter’s wife, Sarah. Great in 2007’s Gone Baby Gone, Monaghan’s role seems like a cameo, much like Jamie Foxx’s unmotivated performance as Peter’s best friend. The soundtrack has some nice surprises, including personal favourite Fleet Foxes (“Mykonos”), and Pink Floyd (“Hey You”), the latter naturally played during the obligatory toke session. Seriously, if I’ve learned anything from contemporary American comedy, it’s that everyone harbours a secret desire to get baked. Phillips does his part in the campaign to loosen up America by continuing the trend.
Overall Score: 7.25 – Good. (7s are good, but not great. These films often have a stereotypical plot or are great movies that have a few minor flaws. Fans of this movie’s genre might love it, but others will still enjoy seeing it in theaters.)
An entertaining movie that is surprisingly NOT ruined by the trailer. Downey, Jr. and Galifianakis are an odd couple that sort of makes sense.
