Blades of Glory

Blades of Glory arrives as a comedy directed by Josh Gordon, and its first strength is a clear sense of purpose. Will Ferrell and Jon Heder give Blades of Glory a recognisable human centre before the larger mechanics take over. The central situation in Blades of Glory comes into focus without a long explanation: Two rival Olympic ice skaters, who have been permanently banned from the men's singles competition due to a feud, exploit a loophole that will allow them to qualify as a pairs team. Across its 1h 33m running time, Josh Gordon keeps Blades of Glory alive in individual scenes and uncertain between them.

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The craft of Blades of Glory is defined by comic timing built around character, supported by comic timing built around character rather than overwhelmed by decoration. Dreamworks Pictures gives Blades of Glory a production framework in which well judged reactions can remain connected to story. Made from a United States production context, Blades of Glory uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Blades of Glory works because image, sound and editing appear to be serving the same immediate purpose.

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At story level, Blades of Glory turns Olympic and the central character into the source of its main tension. The role played by Will Ferrell becomes the viewer's route through Blades of Glory, especially when an important relationship begins to alter the situation. Craig Cox gives Blades of Glory momentum by allowing choices to create consequences instead of treating each scene as isolated information. Even when a difficult choice pushes the plot toward familiar ground, Blades of Glory remains attentive to what that pressure means for its characters.

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Blades of Glory benefits from Josh Gordon being alive in individual scenes and uncertain between them about what each sequence needs to accomplish. Instead of making every beat equally loud, Josh Gordon lets Blades of Glory create contrast between pressure and release. The cast and craft keep the experience watchable throughout Blades of Glory, with the strongest decisions feeling connected to character rather than display. It is still fair to say that Blades of Glory suffers because too many scenes explain effects the actors have already suggested, but the problem remains contained.

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Will Ferrell gives Blades of Glory its most dependable performance, finding a clear emotional intention beneath the plot. Opposite Will Ferrell, Jon Heder brings Blades of Glory a contrasting pace that prevents the central relationship from feeling flat. Amy Poehler widens the ensemble of Blades of Glory through reactions that suggest a life beyond the immediate scene. Josh Gordon serves the cast of Blades of Glory best when a look or pause is allowed to finish before the story moves on.

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Beneath its plot, Blades of Glory is most interested in embarrassment, status and the gap between confidence and reality. That concern becomes visible through Will Ferrell, whose choices allow Blades of Glory to explore an idea without stopping for a speech. Olympic gives the themes of Blades of Glory a concrete dramatic form rather than leaving them abstract. The emotional value of Blades of Glory grows whenever Josh Gordon trusts the audience to connect behaviour with the larger question.

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For comedy fans who respond to personality and timing, Blades of Glory is ultimately an uneven film with enough personality to remain interesting. Its most persuasive combination in Blades of Glory brings Will Ferrell together with well judged reactions under the direction of Josh Gordon. The fact that too many scenes explain effects the actors have already suggested prevents Blades of Glory from being entirely seamless. Even with that reservation, Blades of Glory has a clear point of view and enough genuine feeling to justify the journey.