Using style, grace and a bit of flamboyant stereotyping, co-directors Glenn Ficarra and John Requa attempt to tell the true life story of Steve Russell, a sophisticated small town cop who quickly transcends into an over-zealous white-collar criminal. The transition, though sudden, is spectacularly shown; however, the events that occur afterwards are what make I Love You Phillip Morris one of the most frustrating films of the festival.
Starring two of Hollywood's most respected actors in Jim Carrey and Ewan McGregor, Phillip Morris had the chance to be big. But like most promising films do, this one fell off the wagon rather early.
As the film starts out, we are introduced to Steve Russell, played by Jim Carrey. Staring off young, we get to see as Steve discovers that he adopted, is turned away by his real-mother and ultimately ventures into the life of an out-gay man. The montage is quick, giving the film a hefty pace to start. Sadly, it would get no better.
Instead of treating the story like an actual true-life telling, I Love You Phillip Morris attempts to be overly funny, cracking jokes where they should not be cracked and venturing into avenues that should never be touched.
But that isn't the half of it. In the process of being entirely offensive, an unflattering side of Jim Carrey comes out, one that made its first showing during 1994's Ace Ventura. The result is a few moments of hilarious antics, but for the most part, the role just doesn't fit the bill, creating an awkward, uneasy feeling amongst all those in the audience.
Now that isn't to say that the two lead performances weren't strong. To be quite frank, within the complex mixture of comedy and drama, there are moments of pure entertainment. Like when Steve convinces a high-end corporation that he is a certified candidate for their CEO of Finance opening. Or even when he originally meets Phillip Morris, his future partner, explaining life in the big-house and concluding every sentence with, "or you can just suck his dick." The moments are there; however, the film never capitalizes on them.
Instead, awkward tension exists between Carrey and McGregor, both of whom give decent performances as involved gay males at the peak of their sexual exportation. A joke about AIDS becomes the center of attention during the film's final moments, depicting a true account of the story, but coming off as offensive in every way possible.
The end result is one of mixed feelings. The film is funny, but to be quite frank, it shouldn't have been. The story was meant to show a man's journey, not his ability to make you laugh. The opportunity was there, but directors Glenn Ficarra and John Requa just don't know how or where to draw the line. An unfortunate conclusion of an ample opportunity.
