The Independent Voice of Southern Methodist University Since 1915

The Daily Campus

The Daily Campus

The Independent Voice of Southern Methodist University Since 1915

The Daily Campus

The Independent Voice of Southern Methodist University Since 1915

The Daily Campus

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‘Dinner for Schmucks’ not easily digested

Have you ever wanted to throw a dinner party for the sole purpose of laughing at the morons in your life? Then you might find some inspiration from “Dinner for “Schmucks”.

“Schmucks,” while hilarious in its original French format, fails to make an effective transition over to English. This is represented by the struggle the American filmmakers had in naming the film. The original French film is entitled, “Le dîner de cons.”

Traditionally, that name has been translated as “The Dinner Game,” but it should be noted that the literal French meaning is not suitable for print. The two films are similar in concept only.  

“Dinner for Schmucks” begins with Tim Conrad who appears to have it all: a loving girlfriend, an awesome condo and a decent job in Los Angeles. However, he is desperate to advance. Thus, in a staff meeting, Tim proposes a radical new idea that could make his company millions.

His boss is most impressed and invites him to a dinner party, a party for “winners,” people with special talents.

Tim is informed that not only is he supposed to bring a guest, but also that the dinner is a competition of sorts for whoever’s guest is the most ridiculous.

“But where am I going to find an idiot by Saturday?” Tim asks.

Steve Carell plays Barry, a lonely man with a special talent: mouse taxidermy. Conrad and Barry meet when Tim runs Barry over with his car, as Barry ‘rescues’ a dead mouse in the street. It’s a match made in heaven, but the movie is still just starting.

Steve Carell performs his character seamlessly; every detail of Barry’s life, from his eccentric hobby to his bizarre personal life is so hilariously on point that it is impossible not to be reminded of at least one real person to whom he is akin.

The film’s preachy angle begins to conflict sharply with the initial mean-spirited comedy that spawned it, leaving the viewer in stitches one moment but then quickly ostracizing the characters in the next.

The filmmakers force too much on their audience in a short amount of time. Too many dynamics change for it to be an effective film.

The verdict: If you are a fan of the French concept, stay away. As for the everyday viewer, you might find yourself asking if you are the real idiot for attending this film.

For show times and more information, check: www.movietickets.com.

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