Talladega Nights

talladega nights 16

With Rush out in theaters, we wanted to revisit another racing classic of two bitter rivals whose competition drove them to not only be better drivers but also better people. That’s right, we are talking about Talladega Nights: The Ballad of Ricky Bobby, which sees the title character (Will Ferrell) face many obstacles on his quest to prove he is the best race car driver in NASCAR all while being pitted against his polar opposite, French driver Jean Girard (Sacha Baron Coehn). Where Ricky is sponsored by Wonder Bread, Jean is sponsored by Perrier. Ricky is married to “stone cold fox” Carley (Leslie Bibb) while Jean is married to world-class German Shepherd trainer Gregory (Andy Richter). But the major difference between these two drivers is Ricky truly loves to race whereas Jean is starting to find himself drawn to other pursuits — you know, things like training Komodo dragons in Sri Lanka and teaching them to perform Hamlet. Talladega Nights is classic Ferrell taking on a caricature of not only NASCAR drivers but also the world that, uh, drives this sport. Neither Ricky Bobby nor Talladega Nights ever hesitate to dive head first into stereotypes, but it also immediately takes the wind out of those ideas without coming across as preaching. Ferrell leads the charge, but the entire cast is hilarious and prove that no one in the film is just there as set dressing. Everyone has a punch line to deliver. Join us as we look at ten of our favorite scenes from the movie below.



Will Ferrell is a funny man. This seems to be a fact undeniable even to those who don’t otherwise care for his brand of comedy. Even though his schtick has become reliably familiar – he often plays variations of an over-privileged adult child who is hopelessly naïve in certain categories of social life and prone to random bursts of livid anger – its regularity has yet to prevent Ferrell’s comic talents from growing stale. There seems to also be some indescribable aura at the core of Ferrell’s comic talent, something about his appearance and demeanor that can’t be explained through analyses of timing and punchline, as evidenced by his strange appearance on Jimmy Fallon last May. For many, Ferrell’s comic appeal has been this essential, indescribably funny core since his SNL days. Ferrell is funny not exclusively because of his physical comedy or imitable characters; he, as a force of nature, is pure farce (a farce of nature?). But as his film career continues to accumulate titles and as his unique comic sensibilities become better-known with his roles as producer and writer, it’s clear that, beneath his farce, Ferrell has a confrontational political and satirical streak underlying much of his work, which has naturally led to him portraying a politician in Jay Roach’s The Campaign. Ferrell’s roles, however, often exercise a fascinating and occasionally self-defeating tension between satire and farce, with one element substituting, rather than laying the groundwork for, the other. Here’s an overview of the politics of Will […]



No doubt you’ve read about it if you haven’t seen it. The Other Guys, the latest collaboration between masters of the sophomoric Adam McKay and Will Ferrell, concludes with an animated chart-and-graph sequence over its end credits detailing the inner workings of Ponzi schemes, the exponential disparity between the wages of corporate CEOs and their average worker, and the rather comical eventual release date of currently imprisoned white-collar criminal Bernie Madoff. It seems startling at first, for one of the most hilariously dumb comedies of the summer (I certainly don’t mean this as an insult, as true silliness is hard to come by and McKay/Ferrell routinely pull it off masterfully) to conclude with something of a visual lecture. It’s confounding for a film that asks the bare minimum of its viewer to conclude with what seems to be a message built from populist outrage, a message for which there seemed, on the surface, little if any buildup toward. The best course of action – for most critics, anyway – has been to read and enjoy The Other Guys wholly separate from its end credits (films, after all, are often misread as ending before their credits; we’re conditioned not to any pay attention to them). I find this reading of The Other Guys too selective, and its end credits – as didactic and ill-placed as they may seem at first to be – paint a rather different film in hindsight to the one we think we have been seeing.


There is virtually no more Walt Whitman past this point. Enjoy.

The director and producer behind The Goods discuss 19th-century American bearded philosophy, the joy of telling jokes at funerals, and talk about the dangers of doing comedy.

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published: 01.27.2015
published: 01.27.2015
published: 01.27.2015
published: 01.27.2015

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