"These aren't the kind of laughs that will add points to your IQ. You may actually lose a couple by the time it's all over. But that's OK, because the goofy Dinner for Schmucks doesn't require much brain strain to appreciate. This is a movie built upon forehead-smacking, lowest-common-denominator humor. As long as you have a forgiving sense of humor, you'll likely find yourself chuckling at "Schmucks." Dumb or not, this movie is funny." Mike Scott TIMES-PICAYUNE "Every time I think back to scenes from this movie, I just see Barry smiling at me. It’s a sweet charm that I didn’t expect from this movie and it totally works." Jeff Bayer THE SCORECARD REVIEW "Laughter has been shown to be the best medicine for the human heart. So do yourself and your health a big favor by seeing this laugh riot. Dream supporting cast of inventive comedy minds that are all brilliant in the art of improvisation." Keith Cohen SUN PUBLICATIONS "Anyone who sees it and doesn't laugh should check their pulse." Bob Bloom JOURNAL & COURIER "The entire concept of an 'idiots dinner' is a pretty ugly one, but Jay Roach soft pedals things with sentiment. Unlike the 'Tim' character in the original, Paul Rudd manages to keep Tim likable even when he's doing not very nice things." Laura Clifford REELING REVIEWS "As you might have guessed it’s a bit of a grab-bag, but there’s enough variety in the scenes to keep the comedy fresh and pretty much all the supporting characters hit their roles out of the park.Rudd and Carell turn out to be a near-perfect double act, with Rudd’s exasperated, manic nice guy act a perfect foil for Carell, who gives the kind of broad, nutty, idiot man-child performance we haven’t seen from him since his Anchorman days." Anthony Morris THE VINE

"We eagerly await the introduction of each idiot, waiting to see what sort of stupidity they have up their sleeves. They don’t disappoint as Roach gives each performer plenty of rope and they run with it. While the film does overstay its welcome, especially with the slapstick that emerges in the third act, Carell makes it bearable. He not only is able to make us laugh, he also touches our hearts as he never forgets to remind us that Barry’s kindness is what makes him unique. A Long, but Satisfying Dinner." Charles Koplinski ILLINOIS TIMES "The screen chemistry between long time comedic colleagues Steve Carrell and Paul Rudd is in top form as Tim, confronted with the title dinner, is torn between getting the promotion whatever the cost and his good conscience, making this an American morality fable. Everything clicks in front of and behind the camera, making Schmucks good movie entertainment." Robin Clifford REELING REVIEWS "I chuckled pretty regularly, then every so often something hilarious would happen, and I'd be full-on laughing." Mike McGranaghan AISLE SEAT "With apologies to Vin Scelsa, Dinner for Schmucks is an idiot's delight." Christian Toto WHAT WOULD TOTO WATCH? "While not as instantly iconic and defined as [Jay Roach's] previous work, still delivers a lot of entertainment. Dinner for Schmucks is a lot of fun. The entire film's scenario caters exactly to that end; a dinner for schmucks that naturally turns things on its head for the hosts." Patrick Kolan ING MOVIE REVIEWS "From the eerily beautiful opening credit sequence through to a slamming collection of absurdist set pieces and a gallery of hilarious supporting performances (Jemaine Clement steals the show as an arrogant artist), Dinner For Schmucks is hilariously entertaining. Its pointed messages, meanwhile, make it even more meaningful. There is no actor who could have been better as harried financial type Tim Conrad than Paul Rudd. Steve Carell, meanwhile, is unequalled at mixing earnest sweetness with heavy dollops of pure stupidity." Erin Free FILMINK

The Inside Story French filmmaker Francis Veber has long been a keen observer of human behavior, casting an eye to the comic foibles of everyday people who, for whatever (un)fortunate reason, find themselves at the center of some absurd situation or another: someone pretending to be someone else; or dealing with a make-or-break moment in life while simultaneously crossing the path of, well, someone extraordinary. Among his list of bittersweet, national treasure comedies are such titles as "Le Jouet" ("The Toy" 1976), "La cage aux folles" ("Birds of a Feather" 1978), "La Chévre" (1981), "Les Fugitifs" (1986), "Le Jaguar (1996)" and "Le placard" ("The Closet" 2001). He is held in such esteem that the French government has bestowed him its highest honor of Officier of the Légion d'honneur. His 1998 title "Le Dîner de Cons" ("The Dinner Game"), based on his stage play of the same name, proved to be yet another hit with his admiring public, receiving six nominations at the 1999 Cesar Awards, including two for Veber (Best Director and Best Writing). It took home three statues: Best Actor (Jacques Villeret), Best Supporting Actor (Daniel Prévost) and for Verber, Meilleur scénario, original ou adaptation (Best Writing - Original or Adaptation). The unique storyline turns expectations upside down when the 'idiot’s' bumbling actions force the main character to reconsider his life, ultimately becoming a better version of himself. Among the original’s fans in the United States were Walter Parkes and Laurie MacDonald who executive produced the Oscar ® winning film, "Gladiator". Both were immediately interested in the possibility of adapting the film for American audiences. The producers responded to the duality of the film and note, "We knew we’d like to produce a film just on the basis of concept alone, even though it is potentially a cruel subject, it is a very kind film, and it actually has a great big heart." Once they committed to the project, the search went out for a fitting director and, eventually, they had the good fortune of crossing the path of Jay Roach, responsible for directing a parcel of global blockbuster comedies "Meet The Fockers" and "Meet The Parents". "Jay is like a scientist of comedy, such a perfectionist, and so knowledgeable, Parkes ("Catch Me If You Can") notes. As luck would have it, Jay shared an agent with Francis Veber and, after seeing and loving the original, was eager to bring a similar story to life. Drawn to the simplicity of the premise, Roach jumped at the opportunity to helm the film. "I knew I couldn’t top what Francis did, as that film was nearly perfect, For me, it was about taking the same concept and doing a different interpretation, telling a slightly different version of the same story." The film then began to move forward, with Jay bringing onboard David Guion and Michael Handelman (screenwrites of "The Ex"), to continue adapting the screenplay and bring his vision to life. Both men consider Roach to be "a very, very funny director, who also happens to be a very sensitive storyteller." Guion and Handelman labored to bring an updated version of "The Dinner Game" to life, striving to keep the heart of the original intact. "It was a movie that was very funny, but really, it’s about finding the humanity in figures who are laughable," Handelman notes. "The original film ends with the promise of what could happen if these guys all got together, and I thought it would be fun to actually put them in the same dining room and take it a bit further," two time EMMY Award winner Roach revealed. First and foremost, it was decided that the American version would remain a character based comedy, but it would also actually feature a titular dinner (actually never seen in the French version). "Although we haven’t been entirely faithful to the original, I thought I could do it in a way that would borrow some of the basic premise, but the specifics would be very different and, I think, funny in a different way," Roach said. The filmmakers then set out to find comedic actors adept at both the moments of physical and broader comedy, while able to create embraceable characters. Although many actors were at one time or another considered for the 'schmuck', Steve Carell seemed the perfect fit. Carell, star of a string of successful films and the centerpiece of the NBC critical and popular success "The Office", is at the top of his comedic acting game and possesses an almost superpowerful ability to bring honesty and sympathy to every character he embodies, regardless how much of a buffoon he plays. The actor infuses Barry with a childlike earnestness. Carell says, "I think of Barry as if Gandhi were crossed with one of the Three Stooges, he doesn’t have one aggressive or mean bone in his body, but every time he makes any sort of decision, his actions always seem to have a negative reaction." Producer MacDonald observed: "Barry wants to help in every way, but ends up unraveling every aspect of Tim’s life. He’s sweet, funny and irritating all at the same time, and Steve is fantastic in the part." "I don’t think that Barry is necessarily a dumb character. I just think he’s a guy who tries way too hard," Carrel ("Get Smart") explained. "He has a knack for getting himself into awkward situations, but it is completely unintentional and very well meaning. He’s a sad character, but he’s a guy who doesn’t feel sorry for himself; he doesn’t wallow in self-pity or expect others to. I think there’s a real joy to the way he perceives life and himself." It is also Barry’s perception that sees past his new friend’s seemingly superficial exterior to the good guy that lives beneath. Their relationship is hard to pinpoint, and is a swirling mix of tolerance, good will, good intentions, dislike, admiration and bad luck. Barry thinks that Tim leads an exciting life. He’s a snazzy dresser, a Porsche driver and an apartment owner in a tony building. In Barry’s mind, and despite the near-death experience that facilitates their meeting (and Tim’s ignorance of the fact), they are fated to be the best of friends. Hey, they even have the same mobile phone! "Dinner for Schmucks" marks the third on-screen collaboration for Carell and Paul Rudd, who was cast in the tricky role of Tim. The two actors have an easy rapport and genuine appreciation for each other, having previously worked together on the films "The 40 Year Old Virgin" (2004) and "Anchorman: The Legend of Ron Burgundy" (2005). "I think Steve is a genius. I feel privileged. Plus, we have a great time," says Rudd, who has just finished "My Idiot Brother". "Paul is so much fun to work with: he’s a joy and a great guy. He’s everything you would think he would be," says Carrel ("Despicable Me"). "A really funny, sweet, smart, charming man." Director Jay Roach has nothing but compliments for his two leading men, who he compares to Jack Lemmon and Walter Matthau in "The Odd Couple". "I love working with people who can take on a chemistry or relationship and improvise, riff off of it. I’ve seen these guys do it before, and they seem like an old-fashioned comedy team." Carell admits that, in addition to collaborating with Roach, part of the appeal was being included among the talented cast. "Some of the people that are in this movie are really, really funny, and it’s not just one person being funny, it’s everybody. No one has been afraid to try new things, and veer off into really interesting tangents." "This is my dream cast," says Roach. The cast was rounded out with some inventive comedy minds behind some fresh faces: New Zealander Jemaine Clement; popular stand-up ventriloquist Jeff Dunham; Canadian leading man Bruce Greenwood; brainy American 'every-guy' Ron Livingston; French beauty Stephanie Szostak; and Brits Lucy Davenport, David Walliams and Lucy Punch; along with an array of corporate backstabbers, dining schmucks and others one will find only in a comic universe of Jay Roach’s making. When 1996 BAFTA Film Award winning production designer Michael Corenblith ("Apollo 13") came aboard, he was determined to avoid the visual clichés that have long been utilized to establish what the City of Angels is all about. "Our greatest challenge was to present Los Angeles in a fresh and urbane way." 2009 DGA Award Award winner Roach, together with Corenblith ("The Blind Side") and D.O.P. Jim Denault ("She's Out of My League" & "Freedom Writers") strove to embrace the diversity of Los Angeles's architectural gems and weave them into a fresh, organic and interrelated visual scheme to serve as a backdrop to the comic tale. A great deal of time and effort was spent to find just the right locations to serve as the parts that would sum up the "Dinner for Schmucks" universe. Throughout an efficient fifty seven day shooting schedule, the production found itself in front of, inside or around: the downtown area's Grand Hope Park, the Bradbury Building’s Morono Kiang Gallery, and some newly refurbished loft spaces; Westwood’s retail lane of Broxton Avenue; the Federally faced Madison Restaurant of Long Beach; Culver City'’s historic Culver Hotel; Thousand Oak's premiere equestrian centre, El Campeon Farms; as well as interiors and exteriors in Canoga Park, Woodland Hills and Chatsworth. Tim Conrad’s world is the most visually diverse, careening between his Sunset Boulevard domicile and Century City office. Filmmakers chose the Art Deco elegance of the Sunset Tower, designed in 1929, where such luminaries as Howard Hughes, John Wayne and Clark Gable once resided. All of the Fender Financial scenes were filmed at the cutting edge CAA Building in Century City. The gleaming white exterior looks ominous enough to house the group of cutthroat executives and assistants in the employ of Lance Fencer. Barry’s world, on the opposite end of the spectrum, is plain, dull and a tad bit sad. He lives in a 'crappy suburban ranch house' in a nondescript neighborhood. Womanizing artist Kieran Vollard’s environment is a radical departure from both Tim’s and Barry’s. His eclectic downtown loft space is filled with exotic memorabilia from his world travels, all mixed with several of his own unique works of art. Finding a spot that would appropriately embodied his tastes and whims proved to be somewhat challenging. Eventually, the production found state of the art equestrian facility, El Campeon Farms in Thousand Oaks. For the impressive exterior and a few interiors of Lance Fender’s grand house, filmmakers chose a historic home in Pasadena, originally built in 1928. Fender’s dinner party is an extravagant affair with a large number of guests, and his dining room would need to entertain at least twenty people. It was clear from the beginning that the dining room at the Pasadena location wasn't big enough. Stage 18 on the Paramount lot was transformed into Fender’s main dining space, two hallways and a pebble-lined courtyard with a bubbling fountain. The final table boasted twenty full place settings of china (including one for the vulture), sixty goblets and twenty champagne flutes (with countless doubles to allow for breakage). What It's All About

Tim Conrad is dangerously close to having it all. He’s a bright and good-looking guy, on the verge of asking his beautiful, long-time girlfriend, Julie, to accept an upgrade to fiancée. An underling financial analyst at a private equity firm, Fender Financial, his business acumen has been noticed by the head of the company, Lance Fender, who’s about ready to kick Tim upstairs: but first he has to attend the upcoming monthly dinner at Fender’s imposing mansion. Easy! What’s a little dinner with the other company bigwigs? Hell, it’s not so much the meal that will determine his career trajectory: it’s his choice of dinner guest. As it turns out, Fender and friends gather to dine and bask in the company of extraordinary people. People they describes as, those charmed individuals who are born thinking 'outside of the box': men and women dwell on the fringes of society, placed there as a result of their uniqueness. In short, Fender asks each colleague to bring (as their guest) an idiot to dinner. May the best schmuck win!

The Verdict "Those who are of an impatient nature, will probably find the journey to the actual dinner party excruciatingly painful. After all, this is a "Dinner For Schmucks" and that's what we've all come to see. But as the saying goes, "Good things come to those who wait". It certainly applies to director Jay Roach's latest film. He ensures that, by the time we actually get to the dinner, we've grown familiar with the main characters. And like the schmuck dinner guests, they are all remarkable characters. In some cases, remarkabley eccentric. Heading the cast list (in their third collaboration) are Paul Rudd as wannabe floor-climber Tim and two time Screen Actors Guild Award winner Steve Carrel as Barry, a somewhat solitary man who has a special artistic skill involving deceased mice. The many hilarous moments in the film aren't confined to the interaction between Tim, Barry, Tim's girlfriend Julie (the delightful Stephanie Szostak) or Tim's stalker Darla (Lucy Punch who played Verity Thwaites in "St Trinians"). "Dinner For Schmucks" boasts a cast composed of actors and actresses who many cinemagoers will instantly recognize. There's Jemaine Clement from 'Flight of the Conchords'; Zach Galifianakis from "The Hangover"; "Little Britain" cast member David Walliams; Octavia Spencer from "Ugly Betty"; American Comedy Award winning ventriloquest Jeff Dunham and many more. Just how much fun you'll have watching "Dinner For Schmucks", hinges on one very important factor: whether you are a fan of comedian Steve Carrel. A clever reimagining of "The Dinner Game", that in many ways outshines the original. 4 STARS." Who's Playing Who?

Steve Carell Paul Rudd Stephanie Szostak Lucy Punch Bruce Greenwood David Walliams Lucy Davenport Zach Galifianakis Jemaine Clement Ron Livingston Larry Wilmore Kristen Schaal P.J. Byrne Andrea Savage Nick Kroll Randall Park Christopher O'Dowd Jeff Dunham Octavia Spencer Patrick Fischler Rick Overton Eric Winzenried Nicole LaLiberte Maria Zyrianova Blanca Soto Scott Weintraub

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Barry Tim Julie Darla Lance Fender Müeller Birgit Therman Kieran Caldwell Williams Susana Davenport Robin Josh Henderson Marco the Blind Swordsman Lewis the Ventriloquist Madame Nora the Pet Psychic Vincenzo the Vulture Lover Chuck the Beard Champion Patrick Christina the Bird Girl Monique the Bird Girl Catherine Maitre D'

The Crew Directed by Jay Roach Screenplay by David Guion & Michael Handelman Francis Veber film "Le Diner de Cons" ("The Dinner Game") Produced by Laurie MacDonald/Walter F. Parkes/Jay Roach Original Music by Theodore Shapiro Director of photography Jim Denault Film Editing by Alan Baumgarten & Jon Poll Casting by Nicole Abellera & Jeanne McCarthy Production Design by Michael Corenblith Art Direction by Lauren E. Polizzi Supervising art director Christopher Burian-Mohr Set Decoration by Susan Benjamin Costume Design by Mary E. Vogt Run Time 114 minutes Rated M [AUST] Copyright ©2010 - Paramount Pictures - All Rights Reserved ©1999-2010 The Movie Pages & impact Internet Services. All Rights Reserved. Protected by Australian and International Copyright. Trademark Laws and Intellectual Property Rights apply.