Voter Fraud

Barry Levinson wags the dog again, but his bark is worse than his bite.

Barry Levinson hasn't made a movie of note in almost a decade — since 1997's Wag the Dog, to be precise, and even that was less a work of substantial relevance than a bit of lucky timing based on someone else's better novel. Granted, Waghad its moments, but they were too often stretched too far; if the film had been more judiciously edited, it would have been a sharp masterpiece rather than a soft kick in the collective nuts. Everything since then...well, it's better to pretend Levinson's been off woodshedding; just the thought of such product as Envy, Sphere, Liberty Heights and Banditsis enough to send one scrambling to the back catalog for signs that maybe the guy was overrated all along. (Then again, Rain Man and Toys ain't exactly waiting for their Hall of Fame induction ceremonies.)

Levinson's return to the political realm, Man of the Year,is no heroic comeback. Buried beneath its pale satiric surface is a not-bad idea — what would happen if an outsider candidate, a TV comedian played by Williams, became a White House insider? — but Levinson's too distracted to make any kind of point. He loses his movie, his audience and his purpose in a tangle of conspiracy theories and crackpot notions that sink the film just when it begins to transcend expectations. In short, it would have been great if it had stopped, oh, twelve minutes in. No such luck, though do feel free to walk out when Laura Linney shows.

Nothing against Linney, always a fine actress who brings substance and gravitas to even meaningless roles. But her appearance here, as a worker at a voting-machine manufacturing company ruled by despots more concerned with profit than precision, throws the movie out of whack. What could have been something prescient and relevant ventures deep into the type of nutjob territory that even Oliver Stone's abandoned. We're never quite sure what the movie's supposed to be about: the absurdity of the election process or the corruption of politics by moneymen. Either one's a no-brainer gimme; Levinson's hardly the white-knight satirist the left's been waiting for. But he could at least pick an idea and stick with it.

(left to right) Lewis Black, Robin Williams and Christopher 
Walken in a political comedy that's less wag, more dog.
(left to right) Lewis Black, Robin Williams and Christopher Walken in a political comedy that's less wag, more dog.

Williams' Tom Dobbs, the comic-turned-candidate, is meant to be an amalgam of Jon Stewart and Bill Maher — both of whom exist in this movie's universe, which makes the casting of The Daily Show commentator Lewis Black as Dobbs' gag writer, Eddie Langston, more than a bit befuddling. But he's neither incisive nor a bit funny; Dobbs is the kind of softball comic who compares politicians to diapers.

At first, his is a tepid campaign, more Michael Dukakis than Willie Stark. Dobbs is an earnest candidate slow to crack wise on the long trail, much to the chagrin of his manager (Christopher Walken, doing Christopher Walken) and campaign staff. But during a televised debate, as the Republican and Democratic candidates keep agreeing with and smiling at each other, he cuts loose and goes on a protracted rant that proves he's indeed an alternative candidate — not just an outsider but a loose cannon capable of blowing the establishment to bits. Which he does. Sort of. But not really. Turns out Dobbs does get elected, but only because of a computer glitch Linney's character, Eleanor, brought to the attention of her boss (Jeff Goldblum, a tad scarier than usual) right before he injected her with enough illegal drugs to make her look like a less-than-trustworthy source.

Had Levinson chosen to make, say, Mr. Dobbs Goes to Washingtonrather than venture into Parallax View terrain, maybe Man of the Yearwould have been tolerable. Williams, despite his occasional schticky asides, plays Dobbs with considerable restraint; Levinson hasn't re-teamed with his Good Morning, Vietnam star to do a remake, blessedly. Tom Dobbs is precisely the kind of role Williams needed after a litany of bombs and embarrassments; there's some meat on these bare bones. But the writer-director has nothing to say about politics. His idea of a radical position is taking the stance that all politicians say the same thing, which is nothing at all — much like the Man of the Year himself.

 
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