Punk’d provocateur Dax Shepard co-directs and also co-writes and stars in a hybrid of action and rom-com as a goodhearted ex-con who riskily drives girlfriend Kristen Bell to Los Angeles.
Annie (Bell) is a teacher in a terrible community college issued with an ultimatum by her boss (Kristen Chenoweth) – do a job interview in L.A. for the chance to create a course based on her unique approach to conflict resolution or lose her job. Annie decides to go, but it involves a parting of the ways with her boyfriend Charlie (Shepard), who is in witness protection after testifying against some L.A. bank-robbers and can’t go back there without endangering himself and Annie too. So of course he goes. Much to the chagrin of his case marshal (Tom Arnold), Annie’s controlling ex-boyfriend (Michael Rosenbaum), and, eventually and inevitably, the gang he testified against (Bradley Cooper, Ryan Hansen and Joy Bryant). But will Annie be able to forgive Charlie for the awful secret he has kept from her about his past life?
Some films possess a mysterious quality that makes you want to like them, and this is one of them. You are rooting for this film to work, and it so nearly takes flight that you end up feeling bad at its consistent failure to soar. Tom Arnold blusters for all he’s worth as a hopelessly inept federal marshal but while his slapstick scenes of vehicular mayhem have all the necessary elements they never catch full comedic fire. The cast is ultimately the best thing about this movie. Smallville fans will enjoy seeing Lex Luthor sporting hair but still acting like an entitled bully, while Veronica Mars fans will enjoy seeing Bell and her old 09er nemesis Hansen clash. Bell will never find as a good a role as Veronica but she carries this movie effectively with her real-life boyfriend Shepard.
The car-chases are the selling points of this movie but these are car-chases shot on a shoe-string budget with hand-held cameras, and while the three chases are good they’re not brilliant. Indeed nearly everything is good but not brilliant. Bradley Cooper has a standout scene with an irresponsible dog-owner that is memorable but quite questionable. Definitively not good are the endless complaining and explaining conversations between Annie and Charlie. These are meant to create a crossover hit by appealing to women, but they’re inferior to the very similar emotional confrontations that punctuate the gory carnage on Supernatural, and they make it increasingly difficult to care about annoying Annie. Indeed the funniest moment comes at the end of the film when her character is undercut with an absurdist cameo by Sean Hayes from Will & Grace.
It’s hard to dismiss a film so many talented actors volunteered to work for scale on but Shepard’s script has noble intentions yet just can’t achieve its own ambitions.