‘Dream Date’
Director: Shawn Levy
Starring: Steve Carell, Tina Fey, Mark Wahlberg
Rating: 3.5/5 popcorns

Featuring a match made in heaven in the talents of Steve Carell and Tina Fey, ‘Date Night’ was adored by critics and audiences for the lead actors’ unabashed awkwardness and charming insecurities. Carell and Fey transcend expectations of romantic comedy couplings. They weren’t cast for their good looks or because they might appeal to the all-important tween demographic, a rarity for a PG-13 comedy. They are merely hilarious performers, with chemistry so captivating that one hopes against hope for a cinematic reunion in the near future.
   
Suburbanites Phil (Steve Carell) and Claire Foster (Tina Fey) are slowly tiring of their routine. Their lives are centered on caring for their kids while working unfulfilling jobs. The highlight of their week is a ritual date night, but even that event has started to lose its luster. However, when Claire decides to dress up one night, Phil is inspired to take her to New Your City for dinner at the swankiest new seafood spot in Manhattan.
   
But the Fosters get caught up in a case of mistaken identity for criminals. Mob boss Joe Miletto (Ray Liotta) sends his henchmen, Collins (Common) and Armstrong (Jimmi Simpson), out to apprehend the Fosters. The zaniness continues when they seek the help of Claire’s former colleague, the now extremely wealthy Holbrooke (Mark Wahlberg). Gunfights, car crashes and a particularly memorable pole dance scene ensue.
   
In the hands of a more capable filmmaker, ‘Date Night’ might have flirted with instant-classic status. However, director Shawn Levy, who built his fame on the two ‘Night at the Museum’ monstrosities, too often institutes frenzied choreography that detracts from the realistic nature of the film. He does an admirable job of capturing Carell and Fey’s priceless banter, but seems unnecessarily concerned with jolting the audience with preposterous action sequences. Seeing the duo distressed, frazzled and entirely out of place allows them to explore newfound comedic range.
   
Yet, not even Levy could spoil the delight of seeing Carell and Fey match wits and brilliantly play off one another for a raucous 90 minutes. While not quite on par with Spencer Tracy and Katharine Hepburn, or Cary Grant and Katharine Hepburn, they both appear to read each other’s minds and anticipate their effects like a legendary comic tandem. Fey’s trademark expression of feminine inadequacy perfectly complements Carell’s signature lack of assertiveness. Together they create one of the most endearing and relatable couples to grace the screen in recent memory.
   
Early in the film, a mutual friend of the Foster’s, the very mellow Brad (Mark Ruffalo), explains that he and his wife get along perfectly fine, but they’ve become no more than excellent roommates. Phil and Claire want to believe that they still have a fire kindling, and while Levy never manages to make their romance entirely convincing, the audience believes in them. Not until the final scene do they fully express their love for one another, leaving a more lasting impression that they are no better than Mark and his wife. After all, they are currently the most likable comedic actors of their respective genders. Audiences want to believe they could be together.

smlittma@syr.edu