With the Emmy-decorated, too-many-people’s-favorite-show-to-count triumph of his role on “Ted Lasso,” Jason Sudeikis has joined the rarefied club of all-stops-out comedians who make the…
has joined the rarefied club of all-stops-out comedians who make the transition to becoming full-on dramatic actors. That said, “Ted Lasso” is a drama streaked with comedy. So you could say that Sudeikis, for all the adoration and acclaim he’s earned, still hasn’t quite entered the fabled upper echelon of the “All comedians want to play Hamlet — but only a few get to do it” stratosphere.
When Annie picks him up at the prison gate, she’s got close-cropped frosted hair , which inspires Jimmy to say that she looks like an angel. Sudeikis comes on like the Dennis Quaid of the ’80s, with a little less smiley assurance but a lot of cowboy charm. It’s there in his courtly intelligence, his gentle dot-eyed valor, and the way that Sudeikis clearly feels comfortable acting from behind a folksy drawl.
Then he meets his parole officer, a sawed-off sadist named Schmidt, played by Shea Whigham in a bolo tie, a giant Stetson, and sideburns like triangles. Whigham gives one of those delectably condescending performances as a Southern gentleman who’s really a passive-aggressive power freak. For a while, the character seems a riff on M.
In the early sections of the movie, when Schmidt is putting the squeeze on Jimmy, their encounters are charged with tension. But then Jimmy takes a midnight ride and gets into even more of a pickle, all because of a freak accident. The coincidences and contrivances start to pile up, but even before that happens the movie has been robbed of its import as a drama of action and consequence.
Keshales cowrote “South of Heaven” with Navot Papushado, who was his co-director on “Big Bad Wolves,” the 2013 Israeli black-comic revenge thriller that became a cult film, spurred in no small part by the enthusiasm of Quentin Tarantino, who hailed it as the best movie of the year. I doubt he would make the same claim for this one, though to me the trouble with both films is that to grab you they’re all too willing to fracture the reality they’ve created.
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