Sherlock star Andrew Scott returns home to play the hapless best man forced to organise a last-minute stag party which quickly descends into embarrassing chaos.
Trinity lecturer and enthusiastic hill-walker Davin (Scott) is best man for dweebish stage-designer Fionan (Hugh O’Conor), who is marrying Davin’s ex-girlfriend Ruth (Amy Huberman). Fionan doesn’t particularly want to have a stag party, but Ruth instructs Davin that he must organise one, after Fionan unnervingly expresses interest in attending her hen party. And so Davin rounds up depressed businessman Simon (Brian Gleeson), Fionan’s gay younger brother Kevin (Michael Legge), and Kevin’s drug-addled boyfriend Kevin (Andrew Bennett), for an arduous mountaineering weekend – the one thing, alongside carefully screened phone calls, guaranteed to ensure the absence of Ruth’s deranged brother The Machine (Peter McDonald). Or so they think… The Machine arrives and instantly sets about destroying any veneer of respectability with crude and cruel nicknames and putdowns, wanton property destruction, vandalism of heritage sites, involuntary electrocution, and simply endless drug-fuelled public nudity.
I loathed Scott’s Moriarty in Sherlock, so when I say the stars this film receives are purely for his performance, that’s something. Davin was fatally wounded by Ruth’s rejection, and having to smile thru her wedding is a cruel twist of the knife. Arguing with Fionan (purportedly about The Sopranos) on how Fionan always takes ownership of things Davin liked first has a subtext obvious to anyone but the characters, and Scott’s later rendition of ‘Raglan Road’ has a stunning emotional charge. But I’m praising a serious arc in an intended raucous comedy because The Stag is both juvenile and unfunny. McDonald co-wrote his ‘hilarious’ role, which the brothers McDonagh might have rendered funny, but which here flails about desperately as McDonald’s accent hits Ireland, England, America and New Zealand – questing for the most bombastically macho line-reading of every line.
Co-writer and director John Butler has a resume of sketch comedy and short films. His feature debut ticks all the clichés of predictable pay-offs and tidy arcs, even appropriating Little Miss Sunshine’s feel-good subversive ending to allow The Machine ‘solve’ the recession. There are no genuinely funny sequences, but many painfully extended ones – to wit, the nudity. The Stag is littered with snide gay jokes, but because Fionan’s father (John Kavanagh) is surprisingly condemned by The Machine for homophobia, that’s okay, right? Well, no, because Kavanagh would also be unlikely to approve if his son brought home a drug-using woman twice his age… Such inconsistencies make you wonder: can one write an asinine script, then inject structural trickery to achieve a closing group rainbow hug, and so, implausibly, secure Film Board funding by dint of one’s impeccable political zeitgeist surfing?
The Stag tragically wastes a cadre of talented Irish actors who are left mugging like Amy Huberman while the audience remembers having been on funnier stags than this one.