Sometimes high-concepts can be problematic; if the general conceit or development does not sit well within the established world of the film, the viewer can be alienated, and the game is up. Long Shot manages to manage expectations; whether it’s been in the marketing, how the plot machinations unfold, or the general likability of all involved, the ‘Unlikely but Not Impossible’ premise flies.
With this particular high concept comes some potential criticism of it being a male nerd fantasy fulfilment. I’d argue, to counter there is present a sarcastic and self-aware tone, along with a wry position around women in positions of power, and how they are represented and treated by the mainstream US media. It’s a counterpoint that balances the film well, and as a result it never feels exploitative or tone-deaf.
We’re paid-up members of the Charlize Theron fan club here at ARWNV. Here Theron plays a well respected, smart, powerful US politician, with eyes on the big job. She does so in a slightly caricatured version of our world, where we’re only troubled with the outlines of policy and political detail. There’s also great repeat value in Bob Odenkirk’s former television star president – the parallels are drawn broadly but effectively.
Seth Rogen is not playing against type or expectation as the down on his luck (yet scrupulous) journalist, hired to pep up Theron’s speeches. He is once again squarely in his comfort zone, but the chemistry between him and Theron’s powerful candidate is the lifeblood of the film. Only a couple of scenes that feel improvised and unpolished distract from the smooth, fun journey.
Supporting characters contribute on the periphery too – Alexander Skarsgard is uncharacteristically hilarious as the Canadian president, and O’Shea Jackson Jnr gives great grounding as Rogen’s long-time friend and confidante. There is, however, a strange decision to lather Andy Serkis in prosthetics – an unnecessary choice that is far more alienating than anything plot-wise.
Rarely are rom-coms this funny – it’s a genre that so often fails on the comedic aspect of its promise. The laugh count here, coupled with the concept’s execution, means a thoroughly successful outcome. It does feel that certain aspects were developed backwards – conceiving of the set-piece, then figuring out how to write to get to it. But when the results are the this much fun, no-one cares what the odds are.
3/5
A Room With No View 