Andrew Jay Cohen is known for working with Judd Apatow, and for writing the comedy flicks Neighbours and Mike And Dave Need Wedding Dates. With those credentials, it’s no surprise that his directorial debut is a similarly loud, brash film, filled with improv-loving comedians and increasingly outrageous set-pieces. What is surprising is what Cohen has learned from working with successful comedy directors – and what he hasn’t.
The House starts promisingly, as married couple Scott and Kate Johansen (Will Ferrell and Amy Poehler) find themselves struggling with two impending problems: the emotional loss of their only daughter leaving for college, and the question of how the hell they’re going to pay for her tuition. When their gambling addict friend Frank (a scene-stealing Jason Mantzoukas) suggests they open an illegal casino in his suburban house, the game – and gaming – is on.
The combo of empty nest syndrome, financial struggle and suburban descent into criminality is ripe for hilarity – the blend of Parenthood and Breaking Bad you never knew you needed. And Cohen creates a brilliant backdrop, populating the Johansens’ neighbourhood with eccentric small-town characters played by seasoned comedy actors. He also eschews Apatow’s fetish for hapless men with shrill wives, making Scott and Kate equals – appropriate for Ferrell and Poehler’s complementary comedic chops.
As they’re seduced by the power and glamour of their living-room casino, they become excited by life and each other, hilariously strutting around decked out in bling and fearsome new alter egos.
Unforunately, the relatable dynamics of struggling middle American families soon become lost amid absurd set-pieces. As gangsters, fight clubs and blood-spurting violence overtake the story, these shortcuts to broad comedy eliminate the originality of the premise. If only Cohen was brave enough to bet on his own voice.