Will Ferrell reasserted his box office presence with 2006’s wacky hit comedy Talladega Nights: The Ballad of Ricky Bobby. In this flick, Ferrell plays the title character, a southern boy who grew up with a need for speed – and a desire to please his absentee father Reese (Gary Cole).

Ricky ends up as a pit crewmember for the NASCAR Laughing Clown Malt Liquor team. When the team’s last-place driver bails in the middle of a race, Ricky volunteers to take his place, and he does surprisingly well.

Inspired by his dad’s motto of “If you’re not first, you’re last”, Ricky quickly becomes one of NASCAR’s top drivers, and his success allows his sponsors to expand their team. Ricky’s lifelong pal Cal Naughton Jr. (John C. Reilly) gets behind the wheel of his own car, and he acts as his buddy’s wingman.

Along with his blonde bimbo wife Carley (Leslie Bibb) and bratty sons Walker (Houston Tumlin) and Texas Ranger (Grayson Russell), Ricky lives the high life. Alas, the good times don’t last, as Ricky’s existence starts to unwind after Formula One racer Jean Girard (Sacha Baron Cohen) enters the NASCAR world to challenge Ricky.

Not only does Girard break Ricky’s arm in a bar brawl, but also he takes over as the best NASCAR driver when a wreck leaves Ricky sidelined. The rest of the movie follows Ricky’s attempts at rehabilitation and other issues in his life.

Relentlessly up and down, Nights throws out at least as many duds as successes. The “at least” part relates to the ways different folks will see it, as obviously some people will find the material more amusing than others.

However, I find it hard to imagine anyone won’t view the flick as tremendously erratic. While this isn’t the kind of “throw everything at the wall and see what sticks” approach found in efforts like Airplane!, the film fails to display many attempts to fine-tune its comedy. I get the impression that the filmmakers pitched in every gag they imagined and decided to let the viewers sort out what they liked.

I suppose that’s a democratic way to make a flick, but it’s not efficient or consistently satisfying. The movie meanders at times, and it can come across as rather self-indulgent.

Ferrell and his supporting cast boast more than the requisite talent to make the flick watchable, but the lack of discretion used by the filmmakers turns it into an erratic seesaw of a film. Much of the time, it appears that the filmmakers just don’t know when to quit.

For instance, look at the scene in which Ricky thinks he’s on fire. This bit starts funny but keeps going way too long. Its extensive length extinguishes whatever humor it boasts.

Another problem relates to the title character, as Ferrell miscalculates as he makes Ricky Bobby awfully unlikable after he becomes a star. I understand the rationale behind this, as the filmmakers clearly want us to view Ricky Bobby’s evolution and growth, but it doesn’t succeed.

Ricky Bobby comes across as so arrogant and self-absorbed that we intensely dislike him right off the bat. As such, it becomes very difficult for the movie to overcome that initial misstep.

The flick does boast a terrific cast, and they truly add to the production. Cole stands out as amusingly crass, while Cohen’s gay driver is surprisingly droll despite the many obvious jokes he gives us.

Reilly is so naturally likable that we bond with him early. Indeed, he becomes our most natural ally since we dislike Ricky Bobby so much, even when Cal’s behavior means he should transform into the bad guy.

Talladega Nights just remains so darned erratic that it falls short of its goals. We find more than a few good laughs, but these come with just as many clunkers and groaners.

I do think we find plenty of good material, and I’ll admit that the movie works better on second or third viewings. Nonetheless, better editing and tightening would have made this more consistently satisfying.

Footnote: stick through the finish of the end credits for a little coda with grandma and the kids. Don’t expect it to be terribly funny, though.

Note that this Blu-ray for Talladega Nights presents both the theatrical version (1:47:59) as well as an Unrated and Uncut edition (2:01:26) of the flick.

Since 108 minutes seemed long already, the 121-minute cut should really drag, shouldn’t it? Actually, this doesn’t occur.

I don’t think the extra material truly improves the flick, but the added bits don’t harm it, as they offer some really funny stuff at times.

WARNING: if you want to avoid various potential spoilers, skip the next section! It’ll feature details on the changes and might tell you something you don’t want to know.

Most of the additions extend existing scenes. These include the dinner that introduces Ricky’s wife and family, a time at The Pit Stop when he meets Jean, the scene where Carley dumps him, the hospital, Ricky’s “haunted house” phone call with Cal, and the climactic race.

There area few entirely new segments. We see one in which Ricky takes the bus to deliver pizzas, and there’s a reconciliatory phone call from Cal prior to the “haunted house” one.

Before the big race at the end, we check out Ricky’s car and sponsors, a section left out of the theatrical version. During the final race, the movie cuts to a commentator who interviews “celebrities”, and we watch Carley try to get back with Ricky at the end.

Some notable changes occur as well. In this version, Jean introduces Ricky to Elvis Costello and Mos Def along with “Breeze”, the babes at the table. Jean’s claims for French innovation now include blowjobs and 69s instead of the menage a trois. Along with “F”-words in the added bus scene, that’s the kind of material that wouldn’t have passed muster for a “PG-13”.

The longer version actually drops a couple of bits. We don’t see young Ricky drive his mother’s car, and we don’t stop visit Lucius’s car wash when he gets the call to become pit chief again.

Please don’t take this as a complete roster of changes, for I probably missed some. I think I’ve accounted for most of them, though, so hopefully I didn’t neglect too many.

In any case, the extended version of the movie works just as well as the theatrical cut, and one could argue the additions might even improve it. Since I thought the 108-minute edition was too long, this sounds counterintuitive, but that remains my impression.

Talladega Nights: The Ballad of Ricky Bobby appears in an aspect ratio of approximately 2.40:1 on this Blu-ray Disc. This became a positive presentation.

For the most part, sharpness seemed fine. A smidgen of softness occasionally impacted wide shots – or some iffy visual effects – but overall delineation felt solid.

Jagged edges and shimmering caused no concerns, and edge enhancement remained absent. In addition, no source flaws cropped up in this clean presentation.

What with the NASCAR vehicles and other varied settings, Nights enjoyed a lot of opportunities for bright colors, and these appeared good. The hues consistently looked lively and full.

Black levels worked fine and seemed deep, while shadow detail also was clear and appropriately dark. The hint of softness made this a “B+” image, but it worked fine overall.

The DTS-HD MA 5.1 mix seemed more than satisfactory, though it tended to focus on the front channels. Music featured prominently in the film, and the track presented the score and songs with nice, clean stereo. Effects popped up in appropriate and distinct locations and melded together naturally.

Surround usage tended toward general ambience, but a few segments gave us greater activity from the rear. The races brought out some good movement that added a lot of pep to the track. The various elements zipped around the spectrum well and created a good feeling of the action.

Audio quality appeared fine. Speech came across as natural and concise, and the lines betrayed no flaws like edginess. Effects sounded crisp and detailed. They showed no distortion or other concerns and demonstrated reasonable low-end response when necessary.

Music worked best of all. The various bits of songs and score were robust and dynamic, and bass seemed tight and dense. Overall this was a strong mix.

Note that the picture/audio comments address only the Theatrical Cut of the film. The Unrated/Uncut version replicates the original disc from 2006, so click here for full info.

How did the quality of the 2016 Theatrical presentation compare to that of the 2006 Unrated? Audio seemed very similar, as the DTS-HD MA mix didn’t show obvious changes from the old disc’s uncompressed PCM track.

As for visuals, the theatrical Blu-ray boasted improved accuracy, but not to a huge degree. Despite its age, the 2006 disc held up well, so the newer release became a mild step up but not anything stunning.

On the disc for the theatrical version, we get an audio commentary. Entitled “25 Years Later”, this takes us to 2031 and purports to celebrate the 25th anniversary of Nights.

At the start, it features actor Will Ferrell and “director’s son Darnell McKay”. We quickly learn that director Adam McKay couldn’t appear because he died years earlier when attacked by hammerhead sharks.

Those two don’t sit alone. As the track progresses, additional participants enter the picture. We get “Michigan militia captain” John C. Reilly on the phone, and others come into the studio. Those folks include actors Jack McBrayer, “Senator” David Koechner, and Michael Clarke Duncan.

Yes, this will be a commentary with tongue planted firmly in cheek, and I must admit, I didn’t relish the prospect of listening to it. I thought it’d quickly become lame and lack much entertainment value.

Happily, I was wrong, as “25 Years Later” proves consistently funny and enjoyable. Of course, you don’t learn a damned thing about the film’s creation, and the fact that every new participant needs to be informed about the fake lives of the others creates a lot of repetition.

Nonetheless, the gags fly fast and furious, and most of them hit home. Surprisingly, the track gets better as it progresses.

I thought it’d run out of steam, but each speaker adds his own twist and contributes to the comedy. This is an awfully fun little piece that fans of the movie should love.

14 Deleted and Extended Scenes fill a total of 42 minutes, 36 seconds. Most of these are actually pretty good. I don’t think any of these would’ve fit into the final film very well, but they’re fun to watch here.

Under Adam’s Video Diaries, we find an 11-minute, 46-second compilation. This domain shows behind the scenes footage accompanied by first-person comments from McKay. We get fun glimpses of the shoot, and McKay’s remarks add entertaining observations.

Alternate bits show up via Line-O-Rama 2.0. A four-minute, 45-second compilation, we see a slew of variant lines, mostly from Will Ferrell. It’s a funny reel.

More footage appears under Raw Takes, a 16-minute, 44-second package. It gives us unedited shots that show just one perspective. That’s a cool way to see the material, and it brings more unused lines as well.

With Auditions, we find a nine-minute, 16-second package with tryouts for Houston Timlin, Grayson Russell, Leslie Bibb. Jack McBrayer, and Jane Lynch. These become enjoyable to see.

Under the banner of Interviews, we find 12-minutes, 28-seconds of material. We see in-character chats with Cal, Ricky, Jean, and Ricky and Cal.

Essentially these consist of more improv material as we watch the actors riff. Many funny bits emerge, especially since we see more from Cal.

Disc One ends with two trailers. We find both the teaser and the theatrical promos.

On the Unrated/Uncut disc, we launch with an audio commentary from director Adam McKay and “friends”. Actor Ian Roberts accompanies McKay for the entire track, while line producer Scott Kavanaugh joins them around the 45-minute mark. Don’t expect to learn anything about the film’s creation from this piece, as it prefers to take a comedic bent.

That means the participants talk about fictitious elements behind the flick. We learn of its $450 million plus budget, hiring Sean Penn and Donald Sutherland as extras, and many other excesses. The track comes chock full of ludicrous claims and much happy praise for a movie described as one of the greatest ever made.

The commentary gets off to a rocky start, though maybe I felt that way mostly because I anticipated a more straightforward discussion. As such, I wasn’t too excited to get a spoof.

I do think the guys need a few minutes to settle in, though, so the first minutes aren’t particularly interesting. Matters improve from there, however, and quite a few funny bits emerge. I mourn the absence of a factual commentary, but at least this one’s entertaining.

Nine Deleted and Extended Scenes fill a total of 26 minutes, 15 seconds. We find “Going for the Win” (0:41), “I’m Hot” (2:45), “Little Sticker on Windshield” (2:01), “Ricky in Hospital” (5:46), “Gas Money” (0:48), “Jenga Scene (Extended)” (7:15), “What’d You Do Today?” (3:02), “Cal Calls Ricky (TV Room v.1)” (2:20) and “Return to the Garage” (0:37).

Most of these are actually pretty good. “Hot” and “Sticker” give us a better look at Carley’s callousness, while “Hospital” provides funny riffs from Cal. “Jenga” also has some great bits from Cal. I don’t think any of these would’ve fit into the final film very well, but they’re fun to watch here.

A Gag Reel runs two minutes, 28 seconds. Though we get a lot of the usual goofs and giggles, plenty of funny improv appears as well, so this clip works better than usual.

Line-o-Rama goes for five minutes, 30 seconds. It includes more unused gags. This reel shows lots of short cut snippets, many of which are very amusing.

Even more alternate footage pops up in Walker & Texas Ranger. This presents five minutes, 44 seconds of the movie’s obnoxious kids.

I like the other stuff, but this section gets old pretty quickly, as there’s only so much abrasiveness from little boys I can take. A fair amount of the material appears elsewhere, anyway.

Two similar features appear next. We find Ricky and Cal’s Commercials (1:38) and Ricky and Cal’s Public Service Announcements (2:38). Both expand on elements in the final film and provide decide entertainment.

Three sections appear under the banner of Interviews. We get “Ricky and Cal” (5:32), “Jean and Gregory” (3:48) and “Cal and Carley” (4:19).

Essentially these consist of more improv material as we watch the actors riff with each other. Many funny bits emerge, especially since we see more from Cal; I'd be interested in a Cal spin-off flick.

Will Ferrell Returns to Talladega lasts five minutes, 26 seconds. This shows the actor as he goes to the track to act as grand marshal, chat with the press and interact with fans.

We also get some comments from various NASCAR drivers. It’s a watchable piece but not particularly memorable.

Next comes 78 seconds of Bonus Race Footage. As implied, this simply shows more shots of cars. Advertising appears on a NASCAR Page. Here we see clips for a few NASCAR-related elements.

In addition to the movie’s trailer, we find a collection of Previews. This area presents ads for The Pursuit of Happyness, Click, Ghost Rider, Spider-Man 3, The Da Vinci Code, Curse of the Golden Flower, Little Man, An Evening With Kevin Smith 2, Seinfeld Season Seven and upcoming Blu-Ray titles.

Talladega Nights: The Ballad of Ricky Bobby has many good moments, but it doesn’t soar consistently. An unlikable lead character and too many weak gags keep it from living up to its potential. The Blu-ray offers very good picture and audio along with a strong mix of interesting extras. No one will call this a classic, but it offers reasonable amusement.

To rate this film visit the original review of TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY