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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Tim and Eric’s Billion Dollar Movie

TIM AND ERIC’S BILLION DOLLAR MOVIE (One Half Star)
U.S.: Tim Heidecker-Eric Wareheim, 2012

I have just one thing to say about this sorry excuse for a movie — this nauseatingly taste-challenged, almost putrefyingly preposterous goulash of scatological gags, failed nonsense, barf jokes, poop jokes, piddle jokes, jokes that make you want to barf, poop and piddle — one thing to say about this inanely unfunny, deliberately misdirected or undirected farce about two nincompoops named Tim and Eric (played with zero zest by the cult comedy writer-directors Tim Heidecker and Eric Wareheim, of the prize-winning, well-regarded web series “Tim and Eric Awesome Show, Great Job!”), who blow a billion dollars of mob money (the Schlaaang Mob, run by Robert Loggia as demented gangster Tommy Schlaaang and William Atherton as right-hand crook Earle Swinter) spending it all on a moronic movie, starring an inept Johnny Depp impersonator (Ronnie Rodriguez), and are consequently marked for either full psyment of the squandered billion or a double-whack by the Schlaaang gang… but who manage to escape to the heartland and the sleazily ramshackle and falling-apart-at-the-seams Swallow Valley Shopping Mall –a bankrupt commercial “mecca” whose gallery of failing schlock shops are a sure cure for shopaholics — a hellhole inhabited by more idiots and a wolf or two, including the uncredited John C. Reilly as the affably deranged halfwit Taquito, the uncredited Will Ferrell as the stomach-churning con guy Damien Weebs, the uncredited Zach Galifianakis as the rustic simpleton Jim Joe Kelly (at least I think he was a rustic simpleton), Jeff Goldblum as “Chef” Goldblum, Twink Caplan as the strong-stomached love interest Katie, some poor shmo who owns a boutique that sells used toilet paper (this is not a joke), and the uncredited Bozo McWhizzy, in a cameo appearance as a talking hemorrhoid (this is) — all of whom should have refused credit but all of whom nonetheless take part courageously in this less than socko if mind-bogglingly daring entertainment in a series of quasi-comedy scenes so lacking in comedy that they seemed to have been dreamed up by the Society for the Prevention of Laughter for a semi-annual telethon on stamping out humor — a mind-boggling fiasco that sometimes made me feel as I’d been shrunk to the size of The Incredible Shrinking Man and dropped into a spittoon… in any case, I have zero stars and, as I said a while back, one word for the flabbergasting dreck that is Bill & Ted’s Billion Dollar Movie (excuse me, Tim and Eric’s Excellent Adventure, er Billion Dollar Movie).

Awful.

One Response to “Wilmington on Movies: Tim and Eric’s Billion Dollar Movie”

  1. Kevin says:

    You suck. Go watch Lorax with the rest of the baby boys.

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Wilmington

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray