Everything Must Go

Everything Must Go leaves the resolution open, not telegraphing Nick's future. It is as unsettled as life, and the film is all the better for it.

Ferrell as Nick Halsey still feels like a fresh idea, a testament to the actor's reliable but rarely tested mettle as much as his long parade of post-2006 buffoons.

As he did in "Stranger Than Fiction," Ferrell displays surprising range when he ratchets down the volume.

Ferrell fits uncannily well into Carver country, and in this small but sturdy film, he challenges any assumption that he might be limited to comedy. Certainly this is the first time he's moved me to tears that weren't produced by hard laughter.

The results go only so far. Yet already Ferrell has come a long way as a seriocomic screen presence.

A comparison to Carver's original story - called "Why Don't You Dance?," easily Googleable, and all of 1,600 words long - is instructive.

By the time Nick decides to have an emotionally purgative yard sale-the primary holdover from the short story-all the adult ambiguities have been traded in for facile Indiewood profundities.

There's no possibility that this film will be as effective and impactful in ten years or so, it's Everything Must Go's current relevance and immediate dramatic potential in the present economically uncertain world that makes it work so well. The plot structure has been seen many times before, and you can see the plot twists coming a mile off, but almost everything is done exceptionally. Performances are great across the board, with Will Ferrell proving he has the talent for comedy, tragedy and the in-between. Rebecca Hall is good as always, but everyone is put to shame by the young Christopher C.J. Wallace, who has great chemistry with Ferrell, and who is a real talent to watch in the future. Everything Must Go is expertly crafted, funny and engaging, wearing its old-fashionedness as a badge of honour and using it to its maximum potential as an archaic but symbolically effective modern take on a New Deal-era film. The way it promotes A Christmas Carol-worthy redemptive story arc and throws in some strong themes including depression, alcoholism and the evils of capitalism, it feels like a Frank Capra film for the modern era, and for that reason it's a joy to watch.

Not really an eventful movie, but it's alright. Don't really have much to say, it's been a while since I've seen it

Pretty decent movie. Will Ferrell plays the part well. Rather slow, however if you wait until the end and stick with it it is good. not really funny, but the plot is good. It is a rather upbeat movie. Not the greatest in the world but if you have the time watch it.

The story is clichéd to be sure, but on top of that, it's too shallow to mean anything. There's a sense that none of this matters...There is a distinct indifference to this whole enterprise.

Wow ... the scores here are way off base for me. I'm trying to understand what was good about this movie? Did the critics like it because Will Ferrel is a serious actor (story still **** and is depressing) or they like depressing crap that goes absolutely no where. They should call this A Pathetic Drunk Lives On His Lawn. I can't feel sorry for Will Ferrel's character in this movie as he brings all the problems on himself. It's not that he is wronged by anyone really. He's a drunk who loses it all and wallows in self-pity for 2 hours. I like movies that are either interesting or fun. This is neither. I'd rather have gone to work than sit through this waste of time. Also when the critics say "Will Ferrell at his best!" that is code for he is NOT funny or trying to be. Like Adam Sandler in Punch Drunk Love ... blah ... don't get me started on that one. Stay away from this if you like Will Ferrel as a comedy actor.