Jeff Bridges is our hometown hero and an unlikely movie star if there ever was one. With a film fest being given, it seems ironic at best to see “The Dude” himself awash in paparazzi bulb flashes and media hullabaloo as I casually stroll into the Arlington Theatre on the closing night of Santa Barbara’s 20th annual ode to the art of movie watching. Much like its star, “The Moguls” has the phrase “improbable success” written all over it. Yet, as it ridiculous comedy, warm-and-fuzzy family sentimentality and good old-fashioned porn with quality ensemble acting and witty narration, the film works to accomplish all it tries to and more. The script’s absurdity and Bridges’ gift for personifying the outrageous come together to create a story that is neither too raunchy nor too fluffy. This balance results in a film that is eccentric in its plot and character development, which, coupled with a whole bunch of sex jokes, proves to be relentlessly entertaining.

Slated for release later this year, the film revolves around the middle-aged and down-on-his-luck Andy (Bridges) who, after being fired from his umpteenth job and left by his wife, decides to gather up his cronies from the local watering hole and embark on an entrepreneurial mission. Together with best bud Barney (Tim Blake Nelson), knowledgeable video clerk Emmet (Patrick Fugit), local buffoon “Some Idiot” (Joe Pantoliano) and the comically closeted “Moose” (Ted Danson), Andy decides that he can gain respect and score some much-needed cash by making the first high-quality, full-length amateur porn. The gang scrounges up loose change (and pawns some family heirlooms) to fund their venture then embarks on the taxing job of making a movie. Between the frustrating tasks of finding willing porn princesses and writing a workable yet tantalizing script, the cast makes light of their predicament with the ever-essential pornographic puns. All the while Andy finds himself coming to discover the true meaning of family, friends and personal success.

Riddled with individual struggles and technical calamities, as any good get-rich-quick-scheme plot should be, self-deprecation saves “The Moguls” from becoming a sappy movie about tits and ass. Throughout its two-hour run time, Bridges acts as first-person narrator, blatantly pointing out chronological and character inconsistencies as if he were not an obnoxiously anal film student, but a funnier, cooler, more laid-back one. By coupling his commentary with the self-reflexive tone required of any movie about making a movie, Andy becomes our favorite character to use the freeze-frame-and-divulge technique since Zack Morris.

The film’s only shortcomings are in its overzealous casting and character development. With so many strong performances, the ensemble seems bogged down at times. Both Andy’s son Billy (Alex D. Linz, who has been hiding in voiceover roles since “Home Alone 3”) and romantic interest Peggy (Lauren Graham) get lost in the jumble, leaving their presences carrying little weight in the film. Still, with as many capable character actors, it seems nearly impossible to develop each part as completely as the film’s length permits. Looking to the future, we can only hope that upon release “The Moguls” is able to find its audience. Cleverly walking a thin line between heartfelt comedy and what can only be considered a laughably lewd movie about pornography, the film’s success will weigh heavily on marketing and promotion. And for what it’s worth, we here at Artsweek wish Mr. Bridges and his lesbian-loving cohorts the best of cinematic luck!

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