Julia Louis-Dreyfus and Will Ferrell's marriage snowballs to hell and back in Downhill: Review
) have brought their two young boys along on a winter family vacation to the Austrian alps that, for a good 15 minute at least, has all the creamy upper-middle-class gloss of a Nancy Meyers movie: lux décor, easy banter, room-service French fries consumed by happy middle-aged people in plush bathrobes.
But when a routine snow-maintenance procedure on the mountain turns into a terrifying near-death experience — and Pete reacts by grabbing his phone and bolting for safety, leaving Billie far behind with the boys — something in their marriage cracks. and like so many things America recasts in its own image, the storyline becomes both shinier and a lot less subtle in translation.
There’s still plenty of cringe in co-directors Nat Faxon and Jim Rash’s comedy: Pete’s increasingly ridiculous attempts to avoid confronting what he’s done; a heli-skiing plan shot to hell; a trip to a daytime disco that makes an excellent case for sobriety. Though they seem happy in the end to leave the true discomfort, and the deeper emotional digging, to their predecessor.
Pete is more of a standard Ferrell man-child, with a little extra messiness in the mix: Still mourning the father who passed away eight months ago, he’s not so much processing his grief as sublimating it into an extended jag of social-media envy and self pity. So when a younger coworker and his new girlfriend broadcast their hashtag happiness from some lederhosen spot nearby, he wastes no time roping them in.
If he’s hoping they’ll defuse the tension, he’s wrong; he may have been better off leaning on the resort’s social director, a loony Teutonic libertine in white spandex , or just apologizing while he had the chance.’s indelible jagged-violin soundtrack and a nearly identical avalanche sequence (as well as a winky cameo from one of its original stars,
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