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Review by Dustin Putman
2 stars out of 4
How is it that director Barry Levinson can make such lasting modern
classics as 1988's "Rain Man" and 1990's "Avalon," and other successful
features like 2001's "Bandits," and then opt to tackle a project as
inconsequential as "Envy?" With comic powerhouses like the recent
ly oversaturated Ben Stiller (2004's "Along Came Polly") and invaluable
Jack Black (2003's "School of Rock") on board, "Envy" would seem destined
for greatness, or at least a round of solid laughs. Save for that
rare funny moment that sneaks in, "Envy" is a comedy that wants to
be dark and scathing, but lacks the courage of its convictions. It
works better as a comment on today's material-driven society, but
not enough to make its mostly agreeable 99 minutes worth sifting through.
Tim Dingman (Ben Stiller) and Nick Vanderpark (Jack Black) are longtime
best friends whose tight-knit families, including wives Debbie (Rachel
Weisz) and Natalie (Amy Poehler), live across the street from each
other in a powerline-heavy neighborhood in the Valley. Working together
at a sandpaper factory, Tim is happy with his working-class, family
man existence, while Nick is a dreamer constantly trying to concoct
get-rich-quick schemes. When Nick hits the jackpot, so to speak, with
an invention he calls "Vapoorize," a spray that makes dog feces disappear,
he is instantly made famous and rich. Because Tim had a chance to
join him on the enterprise and passed, he grows increasingly jealous
as he sees Nick build a mansion across the street and treat himself
to all of wealth's luxuries. And after a chance meeting with the mysterious
J-Man (Christopher Walken) at a nearby watering hole, Tim decides
to take Nick and all of his success down.
Written by Steve Adams, "Envy" wants to be a merciless dark comedy
along the lines of something Danny DeVito (1989's "The War of the
Roses," 2003's "Duplex") might make, or at least that is how it sets
itself up, but then its searing vision recoils just as it should be
taking off. Tim is overcome with jealousy for Nick's fabulous new
life, but the revenge he takes on him turns out to be accidental (he
kills Nick's beloved pet horse with a bow and arrow) before evaporating
altogether. The whole tone is like that, lackadaisical when it should
be ferocious, low-key when it should be wilder.
Without much to laugh at (the poop-disappearing spray is as preposterous
and lame as it seems), the film's most tantalizing aspect is its skewed,
but honest study of the American Dream, and how all of the love in
the world is not quite enough to make you happy when you lack financial
security. Some people can deny this all they want with the whole "money
can't buy happiness" claim, but they're lying to themselves. Besides,
it isn't necessarily the money that Tim yearns, although he knows
it would be nice. Instead, he simply wishes for material equality
with Nick, and it pains him to no end when that is taken away from
him and Nick gets rich. It is a tricky subject, but director Barry
Levinson pulls it off and makes it the film's sole rewarding element.
Ben Stiller has been in no less than six films in the last year (he
really should work less), but his concentrated turn here as the envious
Tim Dingman is one of his best recent performances. Without the broader,
most outlandish character strokes of "Starsky & Hutch," for example,
Stiller finally has a palpably normal character to build and deepen,
and he does it well. Jack Black is paid no such favors, and actually
has little of interest to do throughout. As their steadfast wives,
Rachel Weisz (2003's "Runaway Jury") is playing below her abilities,
and the wasted Amy Poehler is much more memorable in "Mean Girls."
Christopher Walken (2004's "Man on Fire"), however, is a standout,
goofy and oddly likable as a troublesome stranger who decides to use
Tim for his own well-being.
Despite not being the disaster many are calling it, it is easy to
see why "Envy" has been held from release for over a year (at one
point, it was even rumored to be going direct-to-video). The film's
premise is not commercially viable, the comedy is limp, and with the
end credits viewers are more likely to shrug and quietly exit the
theater rather than be roaring with laughter. Director Barry Levinson
has something to say with "Envy," but he forgets to let audiences
in on exactly what that something is. This is his most undernourished
film since 1994's "Jimmy Hollywood," and if you can't remember that
disposable Joe Pesci comedy, don't worry. Nobody does.
Copyright © 2004 Dustin Putman
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out of 4
