I’ll freely admit that I have a sensitivity to movies set in the Midwest, a place I called home for the majority of my life. To most Hollywood productions, the Midwest is an alien landscape for hopelessly naïve folk going about their naïve business while the coasts take care of the culture and style for America. That’s not the Midwest I know. I shouldn’t take “Cedar Rapids” seriously as an incisive take on “flyover” country ethics, but the least this tepid comedy could do is provide a vibrant sense of humor. Instead, it’s a riff-heavy, wildly formulaic modern comedy that uses stereotypes and improvisations in a gentle, but tedious manner to bring the laughs.
“Cedar Rapids” isn’t an ugly picture. There are too many gifted professionals both in front and behind the camera for the film to degenerate into a mean-spirited enterprise. Instead, the film plays softball, delighting in Tim’s childlike wonder as he prepares for a trip to the “big city” (the film was actually shot in Michigan), armed with travelers checks strapped underneath his clothes and nurturing general paranoia about the business of strangers. The contrasts and ironies are sturdily arranged by director Miguel Arteta (“Youth in Revolt”), who enjoys watching Tim squirm as he ventures out of his rural comfort zone, plunging the overwhelmed insurance ace into a relentless party zone filled with an assortment of comedians doing a mediocre job transforming into Midwestern business folk.
Brandishing broad accents and outdated clothes (a must for any Midwestern tale), the ensemble comes to play, using the script as a springboard for improvisations and weird little inside jokes that aren’t terribly funny (Whitlock, Jr., a former cast member of “The Wire,” makes two in-character references to the show). Admittedly, Reilly’s manic energy as partyhound Dean is impressive and plays directly to the actor’s gifts as a demented boob. Heche also shows appeal as Tim’s convention conquest, while being the lone actor capable of providing a faint sense of dramatic complication without derailing the whole film. The supporting cast also includes Kurtwood Smith, Alia Shawkat (as the hotel hooker), Stephen Root, and Rob Corddry, arming the picture with some heavy street cred in the comedy department. Too bad they’re saddled with flaccid screenwriting that does surprisingly little with the lively cast, encouraging the tossing of tepid one-liners to make an impression.
As for Helms, Tim isn’t much of a departure, as “Cedar Rapids” comes dangerously close to recreating his smash hit, “The Hangover.” The character’s sincerity is disarming, especially when Tim talks lovingly of the insurance industry in the middle of a city known for incredible flooding, but the rest of the performance is familiar, especially when chemical abuse and violent encounters begin to take hold of Tim’s long weekend.
The AVC encoded image (1.85:1 aspect ratio) presentation keeps the HD cinematography in fine working order, offering a satisfactory amount of clarity that supports facial details and set design particulars, though the image lacks a cinematic texture. Colors are comfortable, with the brown and red palette coming through nicely (pool blues also show heft), articulating the warm Midwestern atmosphere of the film. Skintones are lacking in natural vibrancy, more brown than pink, while shadow detail is on the soft side, missing a welcome crispness.
The 5.1 DTS-HD sound mix services the comedy quite well, with a frontal hold for dialogue exchanges, which open up a touch when a group dynamic comes into play. Voices are clear and varied. Scoring supports as intended, falling back into the surrounds until called upon to conjure emotion. Soundtrack cuts are more pronounced, adding some low-end to an otherwise playfully light mix. Atmospherics are satisfactory with outdoor interactions and play time with the gang, with echoed hotel acoustics creating an evocative feel for the ears. A Spanish track is included as well.
English SDH, Spanish, and French subtitles are offered.
“Deleted Scenes” (7:19) offer only small nuggets of characterization, but we do get to see Tim defend the Wisconsin Dells, use a fire extinguisher to exact revenge on his boss, and spend some time up at the cabin with his new friends.
“Gag Reel” (4:17) provides a routine collection of mix-em-ups, with the primary focus on Helms and his inability to suppress his giggle fits.
“Convention Connection” (13:19) covers the efforts of the cast, who take a few moments to share their motivation and delight working with such an unpredictable ensemble.
“Mike O’Malley: Urban Clogger” (2:55) briefly covers the rehearsal and filming of the comedian’s big dance scene.
“Tweaking in the U.S.A.” (6:13) covers the unsavory characters of the story, with cast and crew sharing their feelings about playing the dark side of life within a light comedy.
“Wedding Belles: Crashing a Lesbian Wedding” (4:16) surveys the festivities as the production endeavors to create a celebration for the insurance gang to disrupt. Talk of song choice, costuming, and dance skills ensue.
“Top Notch Commercial” (1:16) is a faux ad for Tim’s insurance company.
“Fox Movie Channel Presents: Miguel Arteta” (6:37) and “Phil Johnson” (6:48) are featurettes for the cable network, with the professionals sharing their artistic inspiration and reflection on the filmmaking process.
A Theatrical Trailer has been included.
If “Cedar Rapids” remained in a farcical state, perhaps it might’ve achieved a rewarding tone of mushrooming madness. Instead, the film seeks out a heart, as Tim begins to take his future into his own hands after witnessing how the big city insurance game is truly run. The sentiment is sweet, but awkward, especially when rubbed up against scenes of Tim smoking meth and getting into fistfights. Arteta doesn’t balance the broad with the genuine easily, leaving “Cedar Rapids” a largely laugh-free, erratic picture.