After Susie is humiliated and grows increasingly distant from her father, the script then veers left into more fantastical territory when the film’s narrator, Papa Elf (Newhart), gets mid-sentence from the film’s claymation villain, Koal Kringle, of some sort Evil Santa who is kidnapped / Grinch character. As Buddy’s family troubles continue, he soon becomes aware of Papa Elf’s kidnapping by Leon the Snowman. Though he falters at first, telling Leon, “I’m not Buddy, I’m Brian.” He’s soon faltering and makes his way to Switzerland to meet a global network of Santas who gather at Christmas HQ in a scene , which seems ripe for cameo appearances.
So it’s up to Buddy not only to save Papa Elf and Christmas, but also to win his daughter’s favor again. It’s not a huge spoiler to say that he achieves all three while also getting revenge on Mr. Spicer, who ends up getting a live monkey for Christmas that attacks him immediately. Armstrong’s screenplay is undoubtedly brimming with comedic potential, much of which would likely have been ironed out in later rewrites by Ferrell, McKay, or Favreau and others.
However, the core of what made Eleven As funny as a fish-on-water story often feels secondary to what is largely family drama. While the original undoubtedly dealt with Buddy’s family issues and feelings of abandonment, Eleven‘s emotional notes remained secondary to the comedy. The biggest problem, if any, with the sequel script is that two-thirds of it focuses on sorting out Buddy’s issues with his daughter, leaving little time to explore the more inventive elements introduced in the final third, such as: B. the global network of Santas and Koal Kringel.
Even more strikingly, the film suffers from the absence of James Caan’s character Walter and his family, who previously played key roles in the first film. Once again, however, the script posted online was only a first draft and likely would have undergone several changes. Ultimately, however, the project was DOA from the minute Ferrell seemed to have a change of heart about producing the film.
Speak with The Hollywood Reporter Speaking of the proposed project and the fact that he was reportedly being offered $29 million for the lead role, Ferrell said, “I should have been promoting the film from an honest place, which would have been, ‘Oh no, it’s not good. I just couldn’t turn down that kind of money.” And I was like, ‘Can I really say those words? I don’t think I can do that, so I don’t think I can do the film.’”
Ferrell has already made sequels to several of his hits, so his answer came as a bit of a surprise. However, another explanation comes up during an appearance What’s happening live with Andy Cohen Evidence of some concerns about the premise of returning to the role of a father adjusting to the suburbs.