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A Million Ways” neglects to measure up to try and it inventor’s elevated expectation for nose-thumbing disrespectfulness. In fact, from “Family Guy” to “Ted,” we’ve started to anticipate the 40-year-old wunderkind to pull out all the stops and, when he comes up short, to go down swinging (as in his valiant yet misinterpreted paean to Hollywood cleavage at the 2013 Oscars). What you don’t anticipate from Macfarlane is a polite, weightless class spoof that, even with its de rigueur parade of dick and fart jokes, is unrealistic to outrage anybody conceived after the gunfight at the O.k. Corral.
At the same time that is precisely what Macfarlane serves up in this story of a nebbish sheep rancher who succumbs to a lovely moll and discovers his internal gunslinger all the while. When we initially reach him, Macfarlane’s Albert Stark has quite recently weaseled out of a gunfight in the 1880s outskirts town of Old Stump, Ariz., and been expeditiously dumped by sweetheart Louise (Amanda Seyfried), who has her doe eyes set on the town’s arrogant “mustachery” manager Foy (Neil Patrick Harris, the closures of his ‘stache pomaded into impermeable twists). So a hopeless Albert comes back to the family estate and watches out for his defiant group, until chance brings him vis-à-vis with strapping new-young lady around the local area Anna (Charlize Theron), who neglects to say that she’s really the wife of the most dreaded scoundrel for miles around, Clinch Leatherwood (Liam Neeson).
Much of “A Million Ways” gives itself to Albert’s deliberations to win back the hand of his past woman love, however its a measure of the film’s apathetic composition (by Macfarlane and co-recorders Alec Sulkin and Wellesley Wild) that Louise never emerges enough as a character for us to comprehend what attracted Albert to her in any case. Having incautiously tested Foy to a duel, the firearm timid Albert gets an intensive lesson in marksmanship from split shot Anna — a “Raindrops Keep Falling On My Head”-style montage amid which one faculties educator and understudy creating more than an insignificant instructive bond. Furthermore its generally on account of the grandly detached, cheeky Theron that the film stays as captivating as it accomplishes as long as it does. Theron isn’t offered much to do here, however she takes advantage of it, which is more than could be said for Giovanni Ribisi and Sarah Silverman, who appear trapped in the ninth loop of comic damnation as a virginal shoemaker and the whore better half who declines to rest with him before their wedding night.
Viewing “A Million Ways,” it feels as though Macfarlane went gaga for the thought of doing a comic Western and chose he’d stress over the particulars as he came, bringing about a disconnected arrangement of portrayals interfaced together by affectionately captured Monument Valley displays. In one of the motion picture’s more enlivened bits, Albert suppresses a strained experience with the Apache pioneer Cochise (Wes Studi) by exhibiting an authority of the Indian tongue, yet Macfarlane practically ruins the joke by tailing it up with a stretched peyote dream arrangement amid which the film veers dangerously near a sense of self drenched vanity ventu