Lorsqu'il découvre que ses supérieurs organisent un dîner pour rire de la bêtise de leurs invités, un jeune cadre a des doutes lorsqu'on l'invite, et se lie d'amitié avec un homme qui serait... Tout lireLorsqu'il découvre que ses supérieurs organisent un dîner pour rire de la bêtise de leurs invités, un jeune cadre a des doutes lorsqu'on l'invite, et se lie d'amitié avec un homme qui serait l'invité idéal.Lorsqu'il découvre que ses supérieurs organisent un dîner pour rire de la bêtise de leurs invités, un jeune cadre a des doutes lorsqu'on l'invite, et se lie d'amitié avec un homme qui serait l'invité idéal.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 nomination au total
Chris O'Dowd
- Marco - Blind Swordsman
- (as Christopher O'Dowd)
Avis à la une
you know there's a good chance it's going to be funny. Also Paul Rudd was good too. Rudd plays Tim, a businessman up for a promotion. His boss invites him to a dinner party in which guests bring someone with a special talent that makes them look stupid. The idea is to make fun of them. Reluctantly, Tim agrees to do it even with his disapproving girlfriend, Julie. He literally runs into Barry, played by Carell and Tim soon realizes Barry would be just the one to invite to this dinner. His talent is stuffing dead mice and creating scenes with them.
Problem is Barry shows up the day before the dinner party and Tim just can't get rid of him. Barry creates all these hilarious problems with Julie and inviting over Tim's stalker, Darla. The funniest scene is when Tim meets the swiss couple at the restaurant and Barry shows up to solve the problem of a missing Julie by bringing Darla. That had me LOL. Next funniest part was the mind control by Zack G. over Barry and his wife and the pudding. There's too many funny things to list them all.
FINAL VERDICT: By far this was the funniest comedy I've seen in quite a long time. I highly recommend it.
Problem is Barry shows up the day before the dinner party and Tim just can't get rid of him. Barry creates all these hilarious problems with Julie and inviting over Tim's stalker, Darla. The funniest scene is when Tim meets the swiss couple at the restaurant and Barry shows up to solve the problem of a missing Julie by bringing Darla. That had me LOL. Next funniest part was the mind control by Zack G. over Barry and his wife and the pudding. There's too many funny things to list them all.
FINAL VERDICT: By far this was the funniest comedy I've seen in quite a long time. I highly recommend it.
In order to impress his girlfriend, Tim (Paul Rudd) needs to secure a promotion. So he decides to accept his bosses challenge; bring an 'idiot' to their annual 'Dinner for Winners'. A competition run by white-collar executives and disguised as a celebration of brilliance in unrecognised individuals. In reality, the meal is simply an opportunity for elitist senior-management types to laugh at some quirky and eccentric members of society. Tim's girlfriend tries to convince him the whole idea is abhorrent. Just as he is beginning to agree with her, he meets Barry (Steve Carell). An IRS worker, with a passion for creating art from taxidermied mice, Barry might just be the perfect man to help Tim win the competition.
The US version of The Office has shown us that Carell can do awkward better than most and Anchorman proved his capabilities of making stupidity funny. However, his character here is completely unlikeable and, more often than not, irritating. His bowl haircut, glasses and protruding teeth, evoke bad seventies sitcoms. A time when this look would have been a stylists shorthand for 'socially inept'. Paul Rudd, on the other hand, is given little opportunity to make us laugh, playing two-dimensional straight man, Tim. Director Jay Roach's previous franchises (Austin Powers, Meet the Parents/Fockers) may not have been the greatest comedies of the past fifteen years, but delivered as and when expected. The problems with Dinner for Schmucks lie in the pacing and the writing. With a 114 minute runtime, it is simply too long. Entire characters and subplots are superfluous. It also suffers badly from second-act-drag, believing that given enough on-screen time we will somehow empathise with our two leads.
Producer Sacha Baron Cohen (Borat, Bruno), seems to have called in a number of favours from celebrity friends and cast them in every available role. The idea, presumably, is that good performances can boost a weak script into something amusing. Of Course, this is not the case. Jemaine Clement (Flight of the Conchords) as avant-garde artiste, Kieran, makes the most of his characters nonsequiturs but only manages to raise a smirk at best. The same cannot be said for David Walliams (Little Britain), whose Swiss, aristocratic character, Mueller, is completely redundant in every way. The only worthy gag in almost two-hours is provided by Chris O' Dowd (The I.T. Crowd) as a blind swordsman. However having only a handful of lines and appearing twenty minutes before the credits roll, its far too little, far too late.
Dinner for Schmucks starts with a premise full of comedic opportunities, but spends the next hour and a half ignoring these. The original, a French film from 1998 entitled The Dinner Game, was a social satire focusing on the ridiculous measures the aristocracy will go to amuse themselves. It was full of witty dialogue and, at 80 minutes long, it worked. As often happens, Hollywood seems to have missed the point and delivered a broad and bland remake.
The US version of The Office has shown us that Carell can do awkward better than most and Anchorman proved his capabilities of making stupidity funny. However, his character here is completely unlikeable and, more often than not, irritating. His bowl haircut, glasses and protruding teeth, evoke bad seventies sitcoms. A time when this look would have been a stylists shorthand for 'socially inept'. Paul Rudd, on the other hand, is given little opportunity to make us laugh, playing two-dimensional straight man, Tim. Director Jay Roach's previous franchises (Austin Powers, Meet the Parents/Fockers) may not have been the greatest comedies of the past fifteen years, but delivered as and when expected. The problems with Dinner for Schmucks lie in the pacing and the writing. With a 114 minute runtime, it is simply too long. Entire characters and subplots are superfluous. It also suffers badly from second-act-drag, believing that given enough on-screen time we will somehow empathise with our two leads.
Producer Sacha Baron Cohen (Borat, Bruno), seems to have called in a number of favours from celebrity friends and cast them in every available role. The idea, presumably, is that good performances can boost a weak script into something amusing. Of Course, this is not the case. Jemaine Clement (Flight of the Conchords) as avant-garde artiste, Kieran, makes the most of his characters nonsequiturs but only manages to raise a smirk at best. The same cannot be said for David Walliams (Little Britain), whose Swiss, aristocratic character, Mueller, is completely redundant in every way. The only worthy gag in almost two-hours is provided by Chris O' Dowd (The I.T. Crowd) as a blind swordsman. However having only a handful of lines and appearing twenty minutes before the credits roll, its far too little, far too late.
Dinner for Schmucks starts with a premise full of comedic opportunities, but spends the next hour and a half ignoring these. The original, a French film from 1998 entitled The Dinner Game, was a social satire focusing on the ridiculous measures the aristocracy will go to amuse themselves. It was full of witty dialogue and, at 80 minutes long, it worked. As often happens, Hollywood seems to have missed the point and delivered a broad and bland remake.
This film shocked me. A new premise of cinema I am not familiar with, and had a very silly, very quirky style of story telling. I have to stick my neck out on this one but I enjoyed it.
I like my comedies, from the classics to the obscure, and this feature manages to slot itself in there somewhere. It's not rip roaringly funny but it makes you smile, makes you giggles and still manages to create a personal attachment to the characters. When they feel bad, we feel bad. When they put themselves through awkward, cringe-worthy situations we cringe along with them and we all end up laughing at the other end.
Stop trying to take this film seriously, it's not trying to be a serious film. It's about a group of idiots being shown of for being idiots by a bunch of corporate idiots. It's silly, fun and worth seeing.
I found the acting was good, little ropey in places but general was to standard, the direction was well thought out, the cinematography was clever and the set design and props (especially the mice) were all manufactured so well and realistically they helped to hold the film together.
This is no Godfather II but it'd no Manos: The hands of Fate either, it's a very silly, very goofy, very fun film to watch with friends, family or on your own. Everyone knows a Schmuck and everyone can relate to this film.
I like my comedies, from the classics to the obscure, and this feature manages to slot itself in there somewhere. It's not rip roaringly funny but it makes you smile, makes you giggles and still manages to create a personal attachment to the characters. When they feel bad, we feel bad. When they put themselves through awkward, cringe-worthy situations we cringe along with them and we all end up laughing at the other end.
Stop trying to take this film seriously, it's not trying to be a serious film. It's about a group of idiots being shown of for being idiots by a bunch of corporate idiots. It's silly, fun and worth seeing.
I found the acting was good, little ropey in places but general was to standard, the direction was well thought out, the cinematography was clever and the set design and props (especially the mice) were all manufactured so well and realistically they helped to hold the film together.
This is no Godfather II but it'd no Manos: The hands of Fate either, it's a very silly, very goofy, very fun film to watch with friends, family or on your own. Everyone knows a Schmuck and everyone can relate to this film.
This movie is flawed, unfunny and poorly written almost all the way through. They deliver what could arguably be THE most annoying movie character of all-time with the Steve Carell character. Then, they proceed to have him grate on your nerves for about an hour. After that, the writers of this film apparently want you to feel sympathy for him simply because he's a human being. That didn't work for me. Paul Rudd is the straight man you identify with that has to endure the dumbest characters and moments possible but, honestly, very little of the stupidity is actually funny. I award points for the crazed stalker ex-lover but not much else in this waste of film. For some reason, I cared enough to see how the dinner turned out but for the life of me, I really don't know why.
I think it was the great comedian Edmund Gwenn who made the statement that "Dying is easy, comedy is hard." That is probably true but I am convinced that there are some actors who can make comedy look easy. At his best, Steve Carrell does just that. In 'Dinner for Schmucks' he occupies the role of Barry Speck, a blithering idiot for whom life is a jolly holiday and cynicism is a notion that seems to have passed him over. Barry's view of the world is devoid of irony or whimsy, he stares blankly with wide eyes and a stupid grin and never seems to understand what is happening right in front of him.
Let me give you an example. Near the beginning of the movie, Barry is being seduced by a blond bimbo who tells him that she thinks she needs a spanking. We get this exchange:
The Blond: "I'm a naughty school girl. I've been bad." Barry: "You look a little old to be a school girl" The Blond: "You're my schoolmaster. I need to be punished." Barry: "I'm not really qualified for that. I work for the IRS."
That kind of idiocy makes Barry the perfect tool for Tim Conrad (Paul Rudd), a mid-level financial executive who curries favor with his implacable boss Lance Fender (Bruce Greenwood) when he manages to sell a Swiss billionaire on the idea of turning defective bombs into effective, yet unattractive, lamps. Fender is impressed and invites Tim to an annual dinner party at his mansion, a "Dinner for Winners" in which the purpose is for each guest to bring the biggest idiot they can find. The guest with the most entertaining idiot wins a trophy.
The journey getting to that dinner party mostly involves Tim trying to survive Barry's idiocy. He has a way of saying and doing the most outrageous things while maintaining a demeanor that lets us believe that he hasn't the slightest clue that his behavior is the least bit odd, even his hobby of making cute dioramas with dead mice.
The first half of the film is genuinely funny, as it observes Barry and his world as he looks out with wide eyes, a goofy smile. Yet, the rest of the movie is spotty. Once we get to know Barry, the movie tries to mix a riot of slapstick comedy with moments of sentimentality that are mostly made up of half-baked speeches about the value of friendship.
The third act gets the film back on track somewhat as we finally arrive at that dinner party. What works are the simple observations about Barry and the other morons in attendance (one of whom is Jeff Dunham who is in a marital spat with one of his dummies). Those characters are funny but the scene goes overboard with a very long battle involving Barry and a nitwit mind-reader named Thurman Munch (Zach Galifianakis) who wears Dickies over his shirts and has a self-satisfied autobiography called "Your Mind Is My Puppet". The scene quickly spirals into a very bizarre area reminiscent of some of Monty Python's lesser sketches.
Steve Carrell is the the entire reason for seeing 'Dinner for Schmucks'. His wonderful performance is pitch perfect, playing a lovable dolt who genuinely believes what he says, even when he confesses to Tim that the reason his wife left his that "I lost her clitoris". To see the deadpan look in his eyes is to understand that Barry believes this statement completely. It is also possibly to understand why his wife really left him.
*** (of four)
Let me give you an example. Near the beginning of the movie, Barry is being seduced by a blond bimbo who tells him that she thinks she needs a spanking. We get this exchange:
The Blond: "I'm a naughty school girl. I've been bad." Barry: "You look a little old to be a school girl" The Blond: "You're my schoolmaster. I need to be punished." Barry: "I'm not really qualified for that. I work for the IRS."
That kind of idiocy makes Barry the perfect tool for Tim Conrad (Paul Rudd), a mid-level financial executive who curries favor with his implacable boss Lance Fender (Bruce Greenwood) when he manages to sell a Swiss billionaire on the idea of turning defective bombs into effective, yet unattractive, lamps. Fender is impressed and invites Tim to an annual dinner party at his mansion, a "Dinner for Winners" in which the purpose is for each guest to bring the biggest idiot they can find. The guest with the most entertaining idiot wins a trophy.
The journey getting to that dinner party mostly involves Tim trying to survive Barry's idiocy. He has a way of saying and doing the most outrageous things while maintaining a demeanor that lets us believe that he hasn't the slightest clue that his behavior is the least bit odd, even his hobby of making cute dioramas with dead mice.
The first half of the film is genuinely funny, as it observes Barry and his world as he looks out with wide eyes, a goofy smile. Yet, the rest of the movie is spotty. Once we get to know Barry, the movie tries to mix a riot of slapstick comedy with moments of sentimentality that are mostly made up of half-baked speeches about the value of friendship.
The third act gets the film back on track somewhat as we finally arrive at that dinner party. What works are the simple observations about Barry and the other morons in attendance (one of whom is Jeff Dunham who is in a marital spat with one of his dummies). Those characters are funny but the scene goes overboard with a very long battle involving Barry and a nitwit mind-reader named Thurman Munch (Zach Galifianakis) who wears Dickies over his shirts and has a self-satisfied autobiography called "Your Mind Is My Puppet". The scene quickly spirals into a very bizarre area reminiscent of some of Monty Python's lesser sketches.
Steve Carrell is the the entire reason for seeing 'Dinner for Schmucks'. His wonderful performance is pitch perfect, playing a lovable dolt who genuinely believes what he says, even when he confesses to Tim that the reason his wife left his that "I lost her clitoris". To see the deadpan look in his eyes is to understand that Barry believes this statement completely. It is also possibly to understand why his wife really left him.
*** (of four)
Le saviez-vous
- AnecdotesOne of the film's writers, David Guion, was on set one day and noticed that Steve Carell was left handed. "I didn't know you were left handed" he remarked to the actor. "I'm not", replied Carell, "but my character is".
- GaffesDarla and Barry throw a bottle of wine on the door in Tim's apartment. In the next shot the mess from the wine has disappeared.
- Crédits fousAfter the credits, A diorama is displayed of a stuffed mouse sitting in a burnt down house, with Barry heard laughing as he reveals that Fender's company has gone bust with Forbes Magazine naming him the "World's Biggest Loser."
- Versions alternativesTrifecta-syndicated airings made two notable edits to the brunch scene:
- The napkin reads "I'M HOT", instead of "I'M WET".
- Barry's echo of Müeller's "Join yourself to her, in the name of love" is omitted, presumably because Barry could be interpreted as mocking Müeller's accent.
- Bandes originalesThe Fool on the Hill
Written by John Lennon & Paul McCartney
Performed by The Beatles
Courtesy of Capitol Records LLC
Under license from EMI Film & Television Music
[Played over both the opening and end credits]
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- How long is Dinner for Schmucks?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Una cena para tontos
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 69 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 73 026 337 $US
- Week-end de sortie aux États-Unis et au Canada
- 23 527 839 $US
- 1 août 2010
- Montant brut mondial
- 86 855 739 $US
- Durée1 heure 54 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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