Brings us back to laughing at something just because

Rating: 9/10 (30 June 2012)

After nearly claiming ownership of the "Animation Domination" lineup Sunday nights on Fox, Seth MacFarlane makes the leap to the theatrical stage with Ted, which has the marketing concept and appearance of Winnie the Pooh with all the innocence squeezed out of him. The character, Ted, is unabashedly crude, and every time he speaks, you feel the need to take a bath. He utters some of the most foul and disgusting lines any film character has said this year.
And yet, I laughed. Again, I'm not proud of what I laughed at, but I did. Ted is the funniest raunchy comedy we've been given this year, and MacFarlane proves he can extend his wit for an upwards of one-hundred minutes. He's created three animated programs and while Ted sometimes feels like it might drum up a forth one, but I don't believe that's the goal here. It appears that this was an idea MacFarlane had floating around in his head for a while, couldn't find a way to make it work on any of his three shows, needed the theatrical freedom and liberation to do and say whatever he wanted to, and thus, penned a screenplay with two others, and created a comedic exercise similar to one by Judd Apatow, but with the additional element of pleasant fantasy.
MacFarlane has been put down by remarks that he is too heavily reliant on pop culture references and presents us with characters we can never take seriously. I don't believe he has ever been credited for being strangely sentimental in his programs, and has the skill to create a setup, a climax, a solution, and even unrelated cutaway gags his shows are known for, in the matter of twenty-two minutes weekly. His talent deserves recognition, and I believe Ted is nothing but faithful to his name.
In 1985, in Boston, eight-year-old John Bennett was a lonely kid who wished for a close friend to have and trust. When his parents bought him a stuffed teddy bear for Christmas, he wished that the bear would come alive, and miraculously, it did. The bear, named Ted by John, went on to be a celebrity, yet never forgot his first and best pal. The narrator then tells us that just like Corey Feldman, Frankie Muniz, and Justin Bieber, eventually, nobody gave a s***.
Twenty-seven years later, John (played by Mark Wahlberg) and Ted (voiced by MacFarlane) spend their days in an apartment, watching movies and cartoons, particularly Flash Gordon, smoking a bong and eating junk food. John is a used car salesman, who has been dating the beautiful Lori (Mila Kunis) for four years, yet is reluctant to propose. She likes Ted, but feels John has been too clingy with childish things that need to go. John is indecisive about choosing the love of his life or his friend he promised he'd be with for life. The setup isn't too far from one possibly existing between long-dating couples with a human who has become too intrusive.
Despite given free range as well, MacFarlane doesn't immediately jump on the "TnA" bandwagon, or even the gross-out gags wagon either. Frankly, the only wagon he jumps on is the appropriate one; unrestricted verbal wit. He reconnects us with familiar faces and voices, with Mila Kunis ("Meg" on Family Guy) in the supporting role, his "Peter Griffin" voice as Ted's (it doesn't come off as distracting as Seth Rogen's in Paul), and even the voice of the handicap character, "Joe," from Family Guy, Patrick Warburton, is given a minor role in the picture. It keenly reminds me of how Trey Parker and Matt Stone utilize their recognizable voices in their films that are distant from their South Park comfort-zone. Between the verbal wit and the pleasant familiarities, MacFarlane still gives himself enough leeway to function within his newly found theatrical boundaries, without resorting to childish gag jokes.
But let's not forget Wahlberg and Kunis in the central roles. If there's one actor who has efficiently restored himself from goofy kid to a capable character, it's Wahlberg. He, along with many other actors this year, such as Channing Tatum in 21 Jump Street, have touched on the comedy genre and have proved worthy of recognition. Wahlberg and the foul-mouthed bear have a kind bromance in the picture that manages to carry itself through the entire film, never running out of steam or resorting to tireless old fluff (no pun intended). Kunis, per usual, is exuberant in her role, providing character where there is usually caricature, and proves her determination and stunning appearance take her further than many other actresses that are on the same, or even a higher, level.
After seeing the film, I contemplated my thoughts on if many of the references, jokes, or one-liners would be as funny if they came from a human character, and the answer is probably not. They probably would've triggered laughs, but not the riotous ones this picture gets. It is next to impossible to rewrite Ted with a human character in the bear's place, and second, the film resorts back to that old formula of laughing at something just because. Seeing a human swear, drink, smoke, and act crass in public is typical, but seeing a bear do it all is touchingly hilarious, when done properly. Especially when it is done with a wide range and an enormous heart. I believe it's safe to say Ted is the first big comedy hit of the year.
Starring: Mark Wahlberg, Mila Kunis, Seth MacFarlane, Joel McHale, Giovanni Ribisi, Jessica Stroup, and Patrick Warburton. Directed by: Seth MacFarlane.