With a résumé like Old School, Talladega Nights, Step Brothers and Anchor Man, Will Ferrell owned comedy during the 2000s. And Julia Louis-Dreyfus is hot off the heels of one of the best comedy TV shows, Veep, an HBO program that lampoons Washington politics so well that it’s probably closer to reality than people wish The West Wing was.
The two joined comedic forces for Downhill, a remake of the Swedish dark comedy Force Majeure (2014). Actress and producer Louis-Dreyfus told The Hollywood Reporter that not only did she meet Ferrell for the first time in 2017 but that’s also when she pitched Downhill to him.
In Downhill, Pete (Ferrell), Billie (Louis-Dreyfus) and their two kids are on a family ski vacation in the Alps. While on the vacation, Pete is envious of a co-worker’s European vacation, which he’s keeping an eye on through Instagram; Billie, on the other hand, scoffs at the posts’ hashtags, like #NoAgendas.
After a day of skiing, the family is about to eat at a restaurant’s outdoor patio and, in a very different manner than #NoAgendas, Billie says the family should eat soup so they’re all hungry for a big dinner after an afternoon on the slopes. That’s around when disaster happens: A ski patrol’s controlled avalanche hits, and Pete grabs his phone and runs, leaving his family to the snow.
The tension of whether Pete is a coward or just following survivalist instincts is covered for the rest of the movie — and a way for the viewer to reflect on ways they’ve acted in cowardice, as well (I know I’ve had a few).
Tensions boil when Pete’s co-worker Zach (Zach Woods) and his girlfriend (Zoë Chao) show up to have drinks with Billie and Pete. Woods is quickly cornering the awkward comedy market with roles on The Office and Silicon Valley and continues the trend in Downhill, making light moments while Pete and Billie confront each other about the avalanche.
Written and directed by Jim Rash and Nat Paxton, the leading characters are a bit anemic. Pete is a real estate executive and Billie is a lawyer. Based on the quality of their vacation, it’s clear they’re living the life of the wealthy. Other than that, the two lack much background, except Pete is still mourning the death of his dad, who had died eight months before the trip.
As Pete deals with his father’s death, he says he’s following the mantra of living for every day. And when he and Zach go out, we see some of Ferrell’s patented physical comedy. But then again, I am so conditioned to Ferrell that I did let out a laugh when he darted away from his family when the avalanche hit.
Ferrell and Louis-Dreyfus have good comic chemistry together — as they showed off when they misunderstood what a cinematographer does at the Academy Awards on Feb. 9. Sadly, they didn’t get a chance to really explore how far they can push comedy together in Downhill.
At 86 minutes, Downhill is OK. The movie’s setting assuages the mediocrity of the movie: It’s filmed on location in Austria. Sure, by the end of 2020 (or even before summer arrives), this movie could be forgotten, but in a world of big action, comic book stories and live action adaptations of cartoons, it’s good to see a return of the hour-and-half movie. (Bijou Art Cinemas).
A Note From the Publisher

Dear Readers,
The last two years have been some of the hardest in Eugene Weekly’s 43 years. There were moments when keeping the paper alive felt uncertain. And yet, here we are — still publishing, still investigating, still showing up every week.
That’s because of you!
Not just because of financial support (though that matters enormously), but because of the emails, notes, conversations, encouragement and ideas you shared along the way. You reminded us why this paper exists and who it’s for.
Listening to readers has always been at the heart of Eugene Weekly. This year, that meant launching our popular weekly Activist Alert column, after many of you told us there was no single, reliable place to find information about rallies, meetings and ways to get involved. You asked. We responded.
We’ve also continued to deepen the coverage that sets Eugene Weekly apart, including our in-depth reporting on local real estate development through Bricks & Mortar — digging into what’s being built, who’s behind it and how those decisions shape our community.
And, of course, we’ve continued to bring you the stories and features many of you depend on: investigations and local government reporting, arts and culture coverage, sudoku and crossword puzzles, Savage Love, and our extensive community events calendar. We feature award-winning stories by University of Oregon student reporters getting real world journalism experience. All free. In print and online.
None of this happens by accident. It happens because readers step up and say: this matters.
As we head into a new year, please consider supporting Eugene Weekly if you’re able. Every dollar helps keep us digging, questioning, celebrating — and yes, occasionally annoying exactly the right people. We consider that a public service.
Thank you for standing with us!

Publisher
Eugene Weekly
P.S. If you’d like to talk about supporting EW, I’d love to hear from you!
jody@eugeneweekly.com
(541) 484-0519
