MasterChugs Theater: ‘Stuck on You’

The Farrelly brothers have made a career out of mocking the afflicted. They had fun at the expense of the mentally challenged in Dumb And Dumber. Last time out they mocked obesity in Shallow Hal. Stuck On You garners its laughs from the exploits of conjoined twins. It’s not a strategy that has won the approval of the politically correct, but their bad taste humor has found a large audience.

That they portray their handicapped with affection goes some way to dispel the charges of ridicule. That they do it so brazenly also warrants some recognition. Most humor comes at the expense of somebody’s misfortune. The Farrellys just happen to focus on those whose misfortunes are more obvious. And, let’s face it, there are few richer subjects than conjoined twins. Stuck On You may effectively be a one gag movie, but it’s one they make full use of, including absurd scenes of the youthful brothers pitching baseball, playing football and boxing. But does the joke ever wear out? Hit the jump to find out.

Delicately splicing sentiment with sharp wit, the movie follows the eclectic adventures of Walt  and Bob, conjoined brothers who are extremely distinct personalities. One wants to flip burgers in his hometown restaurant, while the other wants to take a shot at Hollywood after performing in community theater for a decade. With the inspired gusto that comes from refusing to let any challenge overtake you, the linked pair head out to Studioland so that Walt can at least take a shot at the big time before he looks too old to do so – as Bob was born with most of their liver, Walt’s growth seems to physically surpass his.

While that’s an easy excuse (and not the only contrivance) to get over the first aesthetics presented of the lead characters, Stuck On You intelligently concentrates on the relationship of the brothers throughout. Though multiple plot coincidences might be thrown in their path, their interaction is rewarding to watch as they progress through a parody of stardom due to their unique situation. No matter which of their needs the other is helping to fulfill, there is a basic, innate sense that the other half is just as important without overwhelming you with cheap, sentimental dialogue. When Walt’s career is taking center focus, the quiet maturity of Bob’s responses and questions is given just as much time to resonate.

There is a wonderful charisma to each of the characters that makes them enjoyable to watch apart from the sight gags of seeing two guys having to maneuver together out of necessity, though their barroom brawl is highly amusing. Matt Damon’s shy Bob is truly endearing, and frankly, it’s hard to believe that this is the same heroic Damon from The Bourne Identity or the walking pal in Gerry. The juxtapositions of his resistance to the change in scenery with his encouraging sarcasm when Walt thinks of giving up are genuinely touching. Greg Kinnear never fails to impress either. His instantly outgoing charm provides plenty of reason that he could get laid while his brother sits on the floor with his notebook computer. They play off each other, physically and conversationally, with perfect pitch.

Of the techs the makeup F/X are the most laudable. The fleshy connection between Bob and Walt, designed by Tony Gardner, looks believable, as it should when taking 12 hours to apply. Dan Mindel’s camera captures the manic life of the conjoined brothers. The Farrelly brothers’ script plays up the brotherly relationship surprisingly well.

There is a lot of real sentiment delivered and, with Damon and Kinnear, they make it into something a big cut above their usual gross out slapstick. There are the expected goofy elements, like when Walt tells Bob that he can’t run away (he can’t, though he tries) or when Bob tells a phone caller that “Walt isn’t here.” There are more laughs than not and a whole lot of heart. Where else can you see Meryl Streep dancing in the musical version of “Bonnie and Clyde?”