Tú, yo y ahora... Dupree

In the Russo Brothers' disappointing You, Me and Dupree, Owen Wilson's Dupree expounds an existential philosophy of keeping one's own character, a "ness" tacked on to a first name, such as his best friend's (Matt Dillon) "Carlness." It's a good idea dramatically to remind us all of our uniqueness and the necessity to nurture and protect it from, say, marauding fathers-in-law (in this case Michael Douglas), who might want to efface our individuality as well as get us vasectomies.

Yet the philosophical theme doesn't fit this comedy as it might Chekov's. Dupree's warm-hearted house guest slacking tests the patience of Carl and new wife (Kate Hudson). I can't figure out what Carl's character is, much less know what's worth preserving. Duprees's immature, likable, sometimes witty persona is much easier to determine. Kate Hudson's Molly is even easier, however, because all she has to do is put up with the boys' adolescent behavior and show up now and then in a bikini or white panties with her yellow hair in a breeze to let us know she inherited all of her mom's (Goldie Hawn) good traits including the promise of fine comedic timing should a script offer the chance. This script offers stinky scatology and humorless masturbation instead.

Wilson is establishing himself as an accomplished light comedian with a regrettable tendency to play the same type of charming bumbler who always has a pithy remark to make himself the poetic soul of the piece. His recurring sides of wit and boyish mischief are keeping him in enough cash to keep him from his even more talented role as co-writer with director and buddy Wes Anderson. So, I ask myself, why doesn't he do only projects that suit his creative gifts—maybe because he's lost his sense of "Owenness."

Last night a friend coaxed me into seeing "You, Me and Dupree." Even though I have liked all four of its principal actors for years, I hadn't planned on seeing it last night or possibly ever. The reviews have been uniformly terrible, so I was expecting the worst. I sat in a movie theater that was perhaps one-third full, and I was waiting for the boredom to set in, which the critics said was coming—in spades.

Yes, Owen Wilson has bleached-blond locks, again, but that is probably the only accurate comment in any of the reviews that I saw, and I must have read at least ten of them, from various parts of the country. He was very good, as he was in the "Wedding Crashers." Kate Hudson was perky as always, and did a splendid job; and anyone who has loved her mother over the years will find Goldie's "clone" just as lovely as ever.

Matt Dillon did a terrific job, and was totally believable comically; and Michael Douglas was very good too, playing his character with aplomb. In short, it was a very funny movie, and quite refreshing given the alternatives; namely, movies that are loaded to the gills with special effects, which jar one's cranium to the uttermost.

It seems like the critics were in lock step in panning this film, which may be driving away audiences unfairly. Indeed, this may be a perfect example of the critics being wrong, dead wrong. Go see it in a theater, or buy a DVD when it comes out, and my guess is that you will not be disappointed one iota—and may actually love it. All four principal actors are perfectly balanced, and they are strong enough to be wonderful foils to one another.

I thought this movie was painfully slow. I also thought considering the comedic talent involved that it would have been much better. I think I chuckled at a couple of scenes but not once did I gasp out in laughter as what I would normally do if a comedy were in fact 'funny'. The main problem with the film is the severe lacking in the script department which left the actors no room to improvise and made them rather bleak and uninteresting people. It wasn't a terrible movie but very average!

Michael Douglas also was an unusual candidate to play along side the 3 main leads - as when it came to Douglas's scenes that is when the film draged the most. You are never really told the reason as to why he dislikes Matt Dillion's character so much - which seems to be a large portion of the plot?!

Kate Hudson was great as usual and did well considering what she was given - she looked insanely hot in that black bikini though!!!

Kate Hudson is really, really cute, three hundred watt cute. But that's about all that this film has going for it. It seems to me like a lot of films I've seen, where someone comes up with a really neat premise, one that gets the green light from the studio. But then someone has to write a compelling story to go on top of the premise. And this film, like so many others, peters out at that stage. There were a few laughs, but the movie got boring pretty quick, and stayed that way. Sometimes it aimed for zany, but missed by a fairly wide margin. Unless you are a huge fan of one of the actors, you probably should pass on this one. But Kate was really cute.

Marriages can be hypocritical, and the blame always falls on the opposite party. Thus, when a marriage is portrayed in a movie, the protagonist is sometimes hard to identify. This is the case in You, Me, and Dupree, which presents all of its characters at once but gives us no one to root for. Surely they have their positive qualities, but unfortunately they are blindsided by the negative ones.

If one specific character cannot be our favorite, then we must equally support all of them: "You," Kate Hudson's Molly, is betrothed to "Me," Matt Dillon's Carl, who works for his father- in-law, Micheal Douglas' Mr. Thompson (okay, he can be "and"), and is best friends with Owen Wilson's "Dupree." Four principles, no protagonist. We want everyone to be happy, but they're just so hard to like.

Their involvement with each other begins when Dupree moves in with the newly-wed couple of Carl and Molly, who seem reluctant but generous enough to give him shelter for a few nights. Being an unmotivated leech, however, Dupree moves right in and begins making his presence more permanent than Kate and Molly are comfortable with. This sets the scene for some funny moments involving Dupree's befriending of all the neighborhood children, who probably share his intellectual level, but most of the Dupree-jokes involve feces, nudity, or sex, alone or otherwise. Toilet humor or not, it serves to buttress the point that Dupree just is not a likable person.

Lucky, then, that he's not the main focus of the story. That honor goes to Carl, who is simultaneously dealt two difficult situations: Dupree fowling his nest and Mr. Thompson trying to overlord his marriage to Molly, even suggesting that Carl voluntarily sterilize himself. We get the feeling that Mr. Thompson would take pleasure in doing the deed himself.

As I stated before, there is no clear protagonist. Molly waffles between inviting in and kicking out Dupree, Carl has outbursts resulting in physical pain (mostly his), Mr. Thompson is the father-in-law from hell we met in Meet the Parents, and Dupree will do anything to live off of someone else. They roar and they rampage until the end, but the concluding situation is calmed far to quickly and unrealistically, like a riot quelled in an instant. Many unnecessary jokes could have been replaced with plot development, but they still elicit some legitimate laughs, and that's why we came.