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Run Ronnie Run
(Troy Miller, 2002)

Classification: Bad
Originally Published: Movie Poop Shoot, 2/25/04
According to the dialogue that the MR. SHOW creators have going with their fans on their website, http://www.bobanddavid.com, they encountered nothing but hostility and difficulty from studio New Line CInema while making the “MR. SHOW movie." Why would you hire the guys from MR. SHOW to make a movie about MR. SHOW characters that isn’t like MR. SHOW? If fans of the show wanted to see a big-screen version of their favorite characters, it certainly wasn’t to see them thrown into the kind of formulaic plot MR. SHOW was always so good at poking fun at. Though Bob and David have somewhat disowned the film (on their site they say they “do not stand by [it]”), New Line eventually released it straight-to-video where legions of MR. SHOW fans sought it out to find that, as promised, it wasn’t very good.

Let’s not relieve our comic heroes of all of the blame. They chose to base their films on Cross’ Ronnie Dobbs character, a redneck who he gets arrested on every single episode of a COPS-like television show. Ronnie was a big hit on MR. SHOW and appeared numerous times, but he’s funnier as a concept than a full-fledged character; eighty-five minutes of his redneck-who-is-dumb-yet-insightful schtick is a little too close to the cinematic experience of watching a Gallagher special. Bob plays Terry Twillstein, another creation of MR. SHOW, who is one of those guys with the weird British accents on informercials. His failed infomercial for a device that destroys food is one of the few really good bits in the movie, though to a large degree it’s only repeating a sketch we’ve already seen on HBO.

There are a couple of stream-of-consciousness asides that revive the spirit of the dearly departed MR. SHOW but most of the film is a straight narrative about Terry taking Ronnie to Hollywood and introducing him to the life of a celebrity. Cross and Odenkirk aren’t even allowed to play multiple characters in the story, one of their greatest strengths, as many juicy supporting roles are handed to people outside the MR. SHOW family. A pool party brings out a barrage of celebrity cameos including Trey Parker and Matt Stone, Rebecca and John Stamos, Garry Shandling among others, which reeks of sweeps month desperation.

Still, I really enjoyed one moment in particular. An old man, called “The Valedictorian of Hollywood” is used a couple of times (though not often enough) to comment on the main narrative. He interrupts a brewing homosexual love scene because of censorship concerns and instead shows a deleted scene (which was also deemed racy) from a children’s film starring Jack Black, singing a musical number about beating a woman in her most sensitive and explicit of areas. After the song, The Valedictorian returns to the screen to say, “I’m sorry, that was an unfair example. The preceding clip was cut for reasons of time, not content.”

For some television shows, a trip to the big screen allows it to do things it couldn’t on television; racier content, bigger stories, better effects. But MR. SHOW’s home on HBO allowed it free reign of content (or at least freer than the movie got), and the feature film form actually stifled their creativity. RUN RONNIE RUN is a pretty big disappointment for all involved. Last year, when Bob and David took MR. SHOW on the road for a live tour, I caught a performance. It was one of the funniest shows I’d ever seen in my life. We’re talking tears-streaming-down-the face funny. RONNIE is chuckle-out-of-pity funny at best. Alas, what could have been.