Masterminds, starring Zach Galifianakis, Owen Wilson, Kristen Wiig, is an action comedy based on the true story of one of the largest robberies in US history, a $17 million heist from an armored vehicle vault. Based on this stranger-than-fiction story and featuring the best and brightest in SNL recent memory (plus Zach Galifianakis and Owen Wilson), this movie was poised to be a slam-dunk. However, due to the production company’s bankruptcy, the film sat on the proverbial shelf for a couple years (enough time for some of its stars to become even more famous).
Unfortunately, Masterminds make little use of its stellar cast and fascinating story. Instead, it flounders in a sea of uncommitted comedy styles – trying at the same time to be a Will Ferrell/Adam Mckay improvisational comedy, a low-brow poop-joke movie, and a subtle indie comedy, and missing the best elements of each. Don’t get me wrong, I love all three of these styles. But a movie has to commit to one (or even just two) of these to really hit the necessary notes, especially in 90 minutes.
Normally, director Jared Hess hits the subtle indie comedy notes very well. His first feature Napoleon Dynamite was a surprise hit that became an instant cult-classic. It was made with unknown actors and had an intangible “I don’t know what I just watched but I loved it” quality that is difficult to replicate. His follow-up Nacho Libre enjoyed similar success in an odd-humored way, featuring a typically domineering and memorable performance by Jack Black. Since then, Hess has made even smaller films to less success, but some of them would qualify as “hidden gems”, like Don Verdean, a comedy that deserves much more attention than it’s been given.
Sadly, I think Masterminds is an example of director and cast not matching up well with the material. Again, any two of these three things might have been a recipe for a great comedy. Hess is at his best with inventive, subtle tales exploring interesting characters. This cast, as well, would’ve done much better in either a tightly-scripted film full of one-liners or one with much more empty space to fill with improvisation. But Hess’ penchant for subtlety and the material’s audacious plot did not leave room for a cast of this caliber. Or perhaps it’s the other way: the cast’s energetic talent and the story’s incredulity don’t leave space for a comedy director with a light touch. Either way, it’s a bummer that it didn’t meld the way it could have.
The film’s best moments are in the improv format, like an engagement-photo session with Galifianakis and future-comedy-titan Kate McKinnon. There’s even a gag-reel that was as funny as the funniest parts of this movie. I will even grant it a few really good visual gags, as seen in the trailer when a car tries to ram its way through a gate. But in between these scripted and improvised moments there is a whole movie lacking good comedy writing, a sense of itself, and a reason for us to care. Masterminds isn’t a theatrical event. It will be better as a spur of the moment, streaming service surprise.
In spite of its missed potential, it is worth celebrating that there’s a comedy in theaters with mass appeal, good talent, and is accessible to general audiences. Ever since The Hangover proved that audiences will come out in big numbers for R-rated comedies, most comedies don’t bother with restraint. I love comedy, and I don’t mind an R-rating, but ever since I saw Sausage Party I’ve wondered if we’ve perhaps taken this whole thing too far. It was refreshing to see a comedy with great comedians where I don’t grimace when fellow movie-goers bring their kids in with them. I’m no morality-police prude, but I still think there’s something to be said for finding comedy in the mundane and not just the profane.
