I’d like to extoll the virtues of a great comedy, but this isn’t it. A word of explanation: I come to Dinner for Schmucks at a disadvantage, because I love the French film on which it’s based, The Dinner Game (1998). I’ve also heard its creator, the brilliant writer-director Francis Veber, describe his filmmaking philosophy, and criticize Hollywood colleagues for always wanting to expand and complicate his material. (The Birdcage is the best translation ever made of a Veber property, but I still prefer his original, La Cage aux Folles.)
In spite of this, I honestly tried to approach Dinner for Schmucks with an open mind. I like the casting of Paul Rudd and especially Steve Carell, who—
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