Irresistable
focus featuresJon Stewart returns from self-imposed political commentary exile with his sophomore directorial effort Irresistible. A feature that takes centre aim at swing-state politics with an intended dramatic and poignant commentary, however, what commences is a flat and deeply uninspiring dud that has aged a millennium on arrival.
Disappointing is an unequivocal understatement when describing Irresistible — on every level imaginable, nothing succeeds in its conviction. The filmmaking aesthetic is simplistic, uninspiring and reminiscent of Parks and Recreations – which, on the surface, is not an explicit criticism but considering the material is ten years old, and Stewart convicts the very same aesthetic, its nonetheless disappointing.
Then there are the performances, which define the word uninspiring in its very entity. Steve Carell reteams with Stewart after their Daily Show connection, but the former puts forward a comatose and deeply flat role with no life or commitment to showcase a hint of interest. The engagement value for such a stellar comedic cast member is nonexistent. Because the material is so self-indulgent, there has to be a caveat or layers that needs compelling content and performances to engage with the audience in order to convict on its message.
Both Chris Cooper and Mackenzie Davis put forward equally lifeless characters, and both, being the central characters, are meant to pull together the engagement and emotional draw of the story. Yet on each occasion, both do little to nothing to entice the material. Rose Byrne, for one, who is essentially the antagonist to the film's purported protagonist of Carrell, puts forward an equally as glib and poor rendition. With an excellent comedic performance in Neighbourrous and Spy, it is somewhat surprising to see the actress fall so short on each and every sentiment regarding this comedy, but before long, it is clear that the issue of performances run far deeper than just having a bad day at the office.
The issue comes down to what Stewart deems humour and the flat context of how it has been handled. The former does not translate from comedic brevity on a talk show to profound sentiment on changing the face of politics in a narrative feature. That's not to say it hasn't been achieved, but Stewart's comedic sensibility simply does not integrate well with a jarring and almost tired rendition that feels out of touch. A feeling which is undoubtedly a shame for both fans and Stewart himself, whose comedy is unquestionably engaging.
The latter problem is how the tone is managed, and while the world of politics is a comedic blast to some on the day-to-day Twittersphere, Stewart had the chance to add a more compelling and profound nature to this work if the comedic personality was pulled back and more of a dramatic prowess was developed. Due to the comedic injections, more often than not the delicate poignancy of criticising certain political loopholes is undercut and therefore, by definition, Irresistible can't find a path between wanting to make its audience laugh or be up in arms, and it certainly does not do both.
