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Lucas Miller
Lucas Miller

Fun With Dick And Jane ##TOP##


Fun with Dick and Jane is a 2005 American black comedy film directed by Dean Parisot and written by Judd Apatow and Nicholas Stoller. It stars Jim Carrey and Téa Leoni and is a remake of the 1977 film of the same name. The story focuses on a married, middle-class couple who resort to robbery when the husband's employer goes bankrupt. Alec Baldwin, Richard Jenkins, Angie Harmon, John Michael Higgins, Richard Burgi, Carlos Jacott, Gloria Garayua and Stephnie Weir also star, and James Whitmore appears in an uncredited cameo in one of his final roles. Fun with Dick and Jane was released by Sony Pictures Releasing label to Columbia Pictures on December 21, 2005 and grossed over $204 million worldwide at the box office. It was the third collaboration between Carrey and producer Brian Grazer, after Liar Liar and How the Grinch Stole Christmas.




Fun with Dick and Jane



In 2000, Dick Harper gets promoted to Vice President of Communications for the major media corporation Globodyne. He convinces his wife Jane to quit her job as a travel agent to spend more time with their son Billy, as Dick's salary would be able to cover their expenses.


Watching a news report on the arrests of the Petersons and other former Globodyne employees who desperately turned to crime, the Harpers decide to cease their criminal lifestyle. However, Dick finds that his interview with Ralph Nader has caused him to be indicted for his unwitting role in the company's collapse. Drowning his sorrows at a millionaire's club, he stumbles upon drunk former CFO of the company, Frank Bascombe. When he and Jane confront him, Frank remorsefully admits Jack had planned everything from the beginning: during Dick's television interview, Jack diverted all of Globodyne's assets and then dumped the entire stock, thus ruining the company and its employees and investors, and leaving Dick and Frank to take the blame, while embezzling a $400 million fortune and getting off scot-free. Frank, about to go to prison for 18 months for his role in the scheme after failing to expose Jack's crimes, got $10 million in hush money from him.


Frank tells him Jack plans to transfer the $400 million to an offshore account and creates a plan with Dick and Jane to intercept the transfer, rerouting the funds to an account Frank has established. Things go wrong when Dick accidentally loses the form, so they must print a new one in the bank while Jack is there making the transfer. Jack realizes there are errors on the form and spots Dick. Finally, Dick holds Jack discreetly at gunpoint, demanding he sign a check, which he does. Dick reveals to Jane it was a ruse to get his signature, so Jane, an art major, can forge it.


Some time later, Dick's family drives a Volkswagen Rabbit convertible into the sunset. While Billy is teaching his parents Spanish, Dick's friend Garth drives up in a brand new Bentley Azure, excited to reveal that he has a new job with great benefits, at Enron.


The film is based on a "story" (which may have been a screenstory or a screenplay that was rejected but whose basic idea was retained) by Gerald Gaiser which was previously filmed in 1977. (Some sources erroneously claim the source to be a novel by Gaiser, but there is only a novelization by Linda Stewart as "Sam Stewart"; the book solely cites "a screenplay by Gerald Gaiser" as its source, but is clearly based on a draft of the subsequent '77 shooting script, which was credited to David Giler, Jerry Belson and Mordecai Richler.) Peter Tolan wrote the first draft of the remake screenplay. In June 2003 it was announced that Jim Carrey would star in the film with Barry Sonnenfeld directing and Brian Grazer producing.[4] On July 14, 2003 it was announced that Cameron Diaz would star opposite Carrey.[5] The same day it was also reported that the Coen brothers would rewrite the script.[6] On July 3 it was announced that Sonnenfeld had left the film six weeks before the start of production.[7] Production was postponed until after Carrey had completed his next film Lemony Snicket's A Series of Unfortunate Events.[8] On October it was announced thatDean Parisot would replace Sonnenfeld as director and that production would start in June 2004.[8] Judd Apatow and Nicholas Stoller worked on the script with Parisot.[8] Diaz then left the film. On July 21, 2004, it was announced that she would be replaced by Téa Leoni.[9]


On Rotten Tomatoes, Fun With Dick and Jane has an approval rating of 28% based on 135 reviews, with an average rating of 4.9/10. The site's critical consensus reads, "This muddled comedy has a few laughs, but never sustains a consistent tone."[12] On Metacritic, the film has a score of 47 out of 100, based on 33 critics, indicating "mixed or average reviews".[13] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[14]


Justin Chang of Variety positively described the film as "the rare Hollywood remake that, by daring to reinterpret its source material within a fresh political context, actually has a reason to exist".[15] Manohla Dargis of the New York Times commented that "... the film never settles into a groove, zigging and zagging from belly laughs to pathos ..."[16]Roger Ebert of the Chicago Sun-Times wrote: "Recycles the 1977 comedy right down to repeating the same mistakes." Ebert was critical of the film's unexplored opportunities and wrote that it instead turns to "tired slapstick". He suggested viewers might watch The New Age instead, which he described as a superior film exploring a similar theme.[17]


The film grossed $14 million on its opening weekend in third place when competing with King Kong and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe during the holiday season. It eventually earned $110,332,737 at the domestic box office, and $91,693,375 in international receipts, for a total, worldwide revenue of $202,026,112, against a production budget of $100 million.[3] It is one of twenty feature films to be released in over 3,000 theaters and improve on its box office performance in its second weekend, increasing 14.9% from $14,383,515 to $16,522,532.[18] The high earnings despite the criticism were partially attributed to the scheduled trial of Kenneth Lay and Jeffrey Skilling, and the film credited corporate scandals for inspiration.[19][20]


Manager Dick Harper and his attractive young wife Jane are used to a comfortable lifestyle. They just build a swimming-pool when Dick is fired very unexpectedly - leaving him with $70,000 debt on the house. They try to hide this from the neighbors and just cut down their expenses, but soon it's obvious: living from unemployment bonus drives them crazy, it's uncertain if they can keep the house. Dick decides that robbing drug stores is their only way out - but this takes more skill than expected! Only as a team Dick and Jane can succeed.


Fun with Dick and Jane is a 1977 American black comedy film starring George Segal and Jane Fonda. Directed by Ted Kotcheff, the film is caustically critical of the "anarchy" of the American way of life.


Because of financial reversals at the business, however, Dick's boss, Charlie Blanchard, suddenly fires him. Dick and Jane owe more than $70,000 and abruptly find themselves with no income. Their attempts to find other gainful employment fail. Jane lands a fashion modeling appearance at a restaurant that becomes a fiasco. Dick ends up applying for unemployment and food stamps, while Jane's wealthy parents, rather than helping, advise them to use this experience positively as a life lesson.


"Fun With Dick And Jane" is two movies, in a way. The first is a pleasant enough comedy with several inspired moments. The second is a truly wicked social satire that keeps trying to sneak through. If they'd made the second movie, they might have had some kind of masterpiece on their hands. But they made the first, and that's the trouble.


The movie's about an upper-middle-class married couple (George Segal and Jane Fonda) with all the paraphernalia required of their station in life: suburban home, swimming pool, station wagon, power boat, landscaped lawn, custom kitchen, small boy, dog named Spot. Segal makes a big salary at an aerospace firm -- but the industry, alas, has been on the skids ever since the last moon landing. So he's fired by his drunken boss (Ed McMahon in his usual role).


And it's here that the movie takes its fateful turn away from inspiration, after an inspired series of scenes in which WASP America is confronted with cold realities. Segal runs into a Latino janitor (Hank Garcia) who got fired at the aerospace firm the same time he did. The janitor, Raoul, knows the ropes and tries to explain them: what to tell the welfare interviewer, how to qualify for food stamps, how to earn cash you don't have to report while working as a spear-carrier in the opera. He even takes Segal to the local pool hall, where Segal, trying out his high school Spanish ("Uno cerveza, por favor"), is inevitably arrested as an illegal immigrant.


There's also the problem of the film's style of storytelling. The director is Ted Kotcheff, who distinguished himself with "The Apprenticeship of Duddy Kravitz". That was a movie that took a very hard, tragicomic look at a young man determined to succeed; it never forgave him his materialism. This time, starting with the opening credits based on children's storybooks, Kotcheff and his writers go for a kind of arch simplicity. It works at times (as when, after the dog has been authentically panting its little doggy heart out for minutes, Dick snarls, "Shut up, Spot!"). But mostly it just gets in the way. We're tempted with what looks like a comic attack on our delusions, but all we wind up with is another sophisticated caper.


It's hard to imagine how a film like "Fun with Dick and Jane" could go wrong. Slapstick armed robberies are normally the needed break from the typical holiday flicks that star either dying mothers or skyscraper-sized jungle creatures. But "Dick and Jane's" feeble attempts at establishing itself as a political satire make the movie more fatuous than fun. The film falters and fails as it tries to stretch itself beyond the confines of senseless comedy and into the realm of social commentary. 041b061a72


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