Whatever happened to Ricky Gervais? The glory days of The Office and Extras are now long gone and his occasional forays into cinema have amounted to a few average cameos in other people’s movies and the woeful laughter-free zone that was The Invention of Lying. His new movie, Special Correspondents, is a Netflix original (though actually not original at all, as it’s a remake of 2009 French comedy, Envoyes Tres Speciaux). And, though it pains me to say it, it’s a disaster – a ‘comedy’ that fails to raise so much as a smirk.
Gervais plays Ian Finch, a hapless sound engineer working alongside charmless, bombastic reporter, Frank Bonneville (Eric Bana) who has alienated all his colleagues at 365 News and is now residing at Last Chance Saloon. Ian’s other workmate, Claire Maddox (Kelly McDonald) is the closest thing to a sympathetic character you’ll find in this sorry tale and she isn’t really given all that much to do. Ian is also lumbered with a shrew of a wife, Eleanor (Vera Farmiga) who has all the inherent charm of a car crash and who gleefully cheats on Ian with Frank (though to be fair, Frankdoesn’t know at the time who she is married to).
When a civil war breaks out in Ecuador, Ian and Frank are despatched to cover the story, but Ian, upset by the fact that Eleanor has just walked out on him, accidentally throws their tickets and passports into a passing garbage lorry, leaving them stranded in the USA. Realising that this was his last chance to make good, Frank persuades Ian to help him fake a series of reports from war-torn South America. They are actually holed up in a restaurant across the road with a couple of friends, the almost terminally thick Brigida (America Ferrara) and her husband Domingo (Raul Castillo).
It’s a slight idea and one that is never really nailed – instead, what we get is a lazy, written-by-numbers story featuring embarrassing racial stereotyping, and a series of plot twists you can see coming from several blocks away. More damningly, there’s hardly anyone here you can root for, as McDonald’s character aside, they all appear to be venal, self-interested scumbags with an eye on advancing their own careers. Furthermore, a scene that emulates a faked hostage video is uncomfortably close to images we’ve seen in real life that are a million miles away from anything humorous. I can’t help but wonder if, in the past, the sadly absent Stephen Merchant acted as some kind of quality control for Gervais. Left to his own devices, he seems incapable of creating anything with any depth.
With a new David Brent movie looming on the horizon, the only hope is that he’s put a bit more effort into that script, because this one is frankly dead in the water.