DUSTY & STONES (B+) - This fish-out-of-water documentary is a little flat but quite charming, as it follows two cousins from Swaziland who chase their dream of country-music stardom in Nashville and Texas. It takes the fish-out-of-water concept about as far as you can go without wearing out its welcome.
Debut director Jesse Rudoy embeds deeply with Gazi (Dusty) and Linda (Stones) in a story set, oddly, back in 2018 and only now getting a wide release. Dusty and Stones pay respects to classic country with covers of Johnny Cash and others, but they also write their own songs in a more modern mode. They catch their big break when an international music festival in Jefferson, Texas, contacts them in their town of Mooihoek, inviting them to take part in the town's annual competition.
On their way to Texas, they stop in Nashville to record a few songs with a noted producer and top session players. It's touching to watch the duo express pure tear-filled joy at the way their songs come to life with a full band and professional production. The guys also sample America's strip-mall fast-food culture. They find a sacred link between the American South and Swaziland through Dolly Parton's "Tennessee Mountain Home," which resonates with their connection to their own homeland.
Once the festival starts, there are ominous moments, as it looks like the two men might not be so welcome in a rural white world. The leader of the house band acts dismissively during their sound check, and the men are regarded more as curiosities than established musicians. (Although they are warmly embraced, at times literally, by local women at a rowdy bar.) No matter the outcome, you sense that Dusty and Stones had a dream come true and appreciate what they have, both at home and abroad.
WILL & HARPER (B-minus) - Funny guy Will Ferrell uses the road-trip device to chronicle the journey of his pal and comedy co-conspirator Harper Steele, whose transition from man to woman challenges Ferrell's heteronormative construct of their friendship, which dates to their days on "Saturday Night Live," where Steele wrote some of Ferrell's most memorable sketches.
Ferrell is earnest and open-minded as the old friends take a car trip across the country to revisit some of Steele's favorite dive bars and other dumps in order to gauge the reception that Steele will get now that he no longer is a slumming good ol' boy. (The men are also partial to celebrating beer o'clock in Walmart parking lots, and they even take a balloon ride in New Mexico.) However, the settings are unimaginative, and the reactions are fairly predictable -- mostly inadvertent misgendering mixed with acceptance from unexpected sources. Too often the placement of Steele into these situations seems forced, solely for the purpose of goosing the narrative. Often, the constant distraction of having a celebrity present spoils the whole experiment.
The bond between Ferrell and his older friend is genuine, but that friendship is not really explored beyond the gimmick that got them in a car to drive across the USA. Besides a cursory montage of sketches and characters that Steele apparently created, you don't get a good sense of what made him so funny before he went through a dark period about seven years ago before breaking through as his true self. And maybe that's the point; the old Steele is dead, and this is the person you get now.
And maybe that's what lends a layer of melancholy over the exercise. Ferrell sometimes looks flat-out bored; though he's funny enough here that he at least makes this watchable. If not for his antics, this would be a pretty flat film. As it is, things drag and get repetitive. Director Josh Greenberg did not need the nearly two-hour running time afforded to him. The movie is slow out of the gates; it takes about 20 minutes to get the pair fully on the road, first wasting time in New York with a boring reunion at "SNL."
The inclusion of many "SNL" alums doesn't feel organic, but rather a way to get bold-faced names in the credits. Only Kristen Wiig makes a mark, as she is recruited to pen a theme song, and her composition over the closing credits doesn't disappoint. It's getting to that final destination that can be a chore here.
BONUS TRACK
Dusty and Stones' "hit" song, "The River":
Also over the closing credits of "Will & Harper," a ginchy pop bauble "Go With Me" by Gene & Debbe:
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