Cedar Rapids (R) ★★

When a dramedy gets too sentimental it quickly becomes sappy, but with the right balance – and the right actors – it can work well enough to entertain on multiple levels. Alexander Payne's Sideways is a perfect example of tonal equality; bittersweet in every sense of the word, but outright hilarious when the comedy gets going. I thought the best qualities of his direction would carry over into his latest production, the recent Sundance entry Cedar Rapids. While his influence as producer is identifiable (particularly in its score), director Miguel Arteta (The Good Girl) made a more conventional film than I expected to see.

Our story begins in Brown Valley, Wisconsin, where the dignified Tim Lippe (Ed Helms) works, lives and loves his former 7th Grade teacher (a dull Sigourney Weaver). When the top dog at the insurance company he works for dies, it's up to him to represent at a do-or-die insurance convention in Cedar Rapids, Iowa, a bustling metropolis compared to the small town he's never left. Once there, he befriends a pair of agents (Isaiah Whitlock Jr. and John C. Reilly), cavorts with another (Anne Heche) and parties with a local prostitute (Alia Shawkat). When it comes down to business, however, he learns quickly that the insurance racket isn't the noble industry he once thought it was.

Though it has some heart, the film doesn't hit the funny bone like its trailer teased. The biggest laughs don't come organically; instead Reilly's crass Dean Ziegler (the best part of the movie) spews them from every orifice he exposes. Most of the other jokes are flat, including the bulk of Helms'. Lippe's naivety is all too reminiscent of Andy Bernard, his beloved character on The Office, and though you'd think that would be a good thing, it just feels stale. Heche gives the best performance of all, portraying a melancholy working mother who's both vulnerable and independent, but her character doesn't have much effect on the narrative. The most fun comes via a series of supporting roles and cameo's from the likes of Thomas Lennon, Stephen Root, Rob Corddry, Kurtwood Smith and Mike O'Malley, but none of them have enough screen time to leave a lasting impression.

Lack of humor aside, the film suffers most from trying to tackle too many topics at once. Screenwriter Phil Johnston stuffs many themes into the 87-minute feature, including the growth of the man-child (an indie cliché at this point), corporate corruption and separation of church and office, but no single subject is developed enough to care about. Had the filmmakers stuck to their guns and delivered an all-out comedy, be it conventional or quirky, Cedar Rapids would be easier to endure.

Hollywood.com rated this film 2 stars.