The Invention of Lying

OPENING: 10/02/2009

STUDIO: Warner Bros.

RUN TIME: 100 min

ACCOMPLICES:
Trailer, Official Site

The Charge
In a world where everyone can only tell the truth… this guy can lie.

Opening Statement
It’s a fun week to go to the movies, as there are no less than three worthwhile, smile-inducing films to take a look at. I started this triple-header with The Invention of Lying, the latest project from comedic genius Ricky Gervais. The premise initially seems like an inverted take on Liar Liar, presenting a version of the modern world in which no one ever tells a lie.

The Case
This situation is not particularly fun for someone like Mark Bellison (Gervais), a pudgy working man constantly belittled by those more powerful and attractive than he is. While Mark is on a date with the lovely Anna McDoogles (Jennifer Garner), he is informed of his inferior genetics and stands pretty much no chance with her. Living in a world in which everyone compulsively sees things as either "so" or "not so," means there is no room for messy, complex things like feelings to get in the way of humanity’s relentless participation in natural selection. Mates are chosen purely for their biological value, not for something as flimsy as feeling they’ve found a soul mate. However, in a moment of desperation, Mark finds a way out of the system. He learns to lie, and immediately begins to use this newfound knowledge to his advantage. He can convince anyone of anything, simply by telling them it is so.



The Invention of Lying indulges in the predictable gags you would expect, but quickly veers into considerably more thoughtful and challenging territory. The most striking sequence begins with Mark discovering that his mother only has moments left to live. She cries on her death bed, moaning that she can’t bear the thought of spending eternity in an empty state of nothingness. Desperate to make his mother happy, Mark invents a story about a glorious afterlife in which everyone gets to be with their loved ones and live in a mansion for all of eternity. The word of this marvelous afterlife begins to spread, and in no time Mark finds himself serving as the all-knowing authority on a religion that he’s making up as he goes along. It’s bold stuff for a mainstream comedy, and the film digs into similarly thought-provoking areas in its own genial manner throughout the proceedings. Gervais humorously and smartly explores just how dramatically lies have impacted our society, and how dependent on them we are for so much of what makes us human. 



Though the story structure is fairly conventional comedy, the guts of the film are exceptionally funny and substantial. Gervais does a predictably solid job both as star and co-director, and his screenplay provides a generous supply of fun supporting roles for a host of talented folks (Tina Fey, Philip Seymour Hoffman, Edward Norton, John Hodgman, Louis C.K., Jason Bateman). Special mention goes to Jennifer Garner, whose supporting turn as Mark’s perpetually-surprised love interest is a terrific demonstration of comic timing that should not be overlooked. I might have preferred a film with just a bit more merciless bite, but then it wouldn’t have been a mainstream release. I’m reminded of what John Lennon said after his pro-socialism, anti-religion song "Imagine" became a massive hit: "Put your message across with a little honey."

The Verdict
9/10

Ghost Town

OPENING: 09/19/2008

STUDIO: DreamWorks

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge
He sees dead people… and they annoy him.

Opening Statement
I’m a Ricky Gervais fan. I have been for a good long while. Much as I enjoy the American version of The Office at times, I don’t think it will ever match his painfully funny and punishing cubicle nightmare created for the BBC. Likewise, I’ve also had a lot of fun watching Gervais riff his way through Extras, the star-studded HBO show. Now it’s time for Gervais to step into the spotlight as a leading man in the movies, and the vehicle is a romantic comedy directed and co-written by David Koepp. Now before you say, “eewwww!”, just bear with me. It’s actually pretty good.


Facts of the Case
Gervais plays the wonderfully-named Bertram Pincus, an unhappy dentist who hates humanity in general. He is constantly disgusted, annoyed, or inconvenienced by everyone and everything around him, and he wants nothing more than to simply be free of those disgusting parasites known as “human beings”. One day, Bertram goes into the hospital for a minor medical procedure, and suddenly dies for just a few minutes. When he is revived, Bertram starts seeing strange things. People are following him around everywhere. Bertram soon discovers that these people are ghosts, and he is the only living person that they can communicate with. They all want him to help him deliver a message to their loved ones. Bertram just wants to be left alone. Unfortunately for him, that’s not going to happen.

One ghost in particular is exceptionally persistent. He is a suave fellow played by Greg Kinnear. He makes Bertram a bargain: “If you will help my ex-wife break up with this jerk she is dating, then I’ll tell everyone to leave you alone.” Bertram begrudgingly agrees, and proceeds to try and make friends with the lady (Tea Leoni). Things go quite badly at first, but soon she begins to warm up to him, and then he begins to warm up to her, and… well, you can guess where it goes from there.


The Evidence
Ghost Town is essentially a remake of As Good as it Gets with a supernatural twist. You know, “Greg Kinnear teaches some jerk how to be nice and aids said jerk in landing a lovely lady.” The difference here is that Gervais is a jerk because he simply can’t stand people, not because he enjoys being mean to them as Jack Nicholson’s character did. Another unique element is that Gervais has a very specific brand of humor, which actually manages to survive Koepp’s script quite well. The first hour of Ghost Town is immensely satisfying, as it mostly consists of some terrific dialogue scenes. Gervais is pretty much in every scene, but he is best when sharing the screen with Tea Leoni and Kristen Wiig (the latter has a small part, but very nearly walks away with the film).

The third act of the film gets a bit predictable, and it’s kind of sad to see Gervais plodding through romantic comedy clichés that he has so fiercely satirized in the past. Nonetheless, it’s actually handled better than average here. Ghost Town is a good deal more appealing in the familiar bits than something like, oh, How to Lose a Guy in 10 Days. When the movie starts to get sweet and soggy, it’s kind of pleasant, even if it’s not as interesting as it was during the first hour. Even so, the first hour is strong enough to make the film worth recommending to those looking for a good laugh.

Closing Statement
As standard-issue romantic comedies go, this is one of the better ones I’ve seen in recent times. It’s also nice to have a PG-13 comedy this funny. In a time when most of the laughs are coming from “hard R” films courtesy of the Judd Apatow factory, I’m pleased to find a film that successfully relies on old-fashioned verbal wit for fun. If Ricky Gervais can be this good in a mainstream formula film, just imagine how good it will be when he gets to appear in one of his own efforts (one is coming very soon, I understand). Here’s hoping he’s got a long and successful career on the big screen ahead of him.


The Verdict

7/10