Bad news. The Campaign is so NOT Anchorman. (I know it sounds ridiculous to think any movie could top Will Ferrell’s greatest achievement save Mugatu, his Zoolander role, but I had hope.) Ferrell’s latest creation, the misogynistic Southern buffoon politician Cam Brady, is a clear combination of George Dubya and prissy, philandering John Edwards, but he can’t hold a candle to the genius that was Ron Burgundy.

Is Will Ferrell back? Well, he’s certainly trying, coming out with a political movie right before an election. Doesn’t hurt to add Zach Galifianakis, another frat-boy favorite. Galifianakis plays sweet, naive Marty Huggins, the bumbling rival sent by two evil tycoon brothers (Dan Akyroyd and John Lithgow) to get rid of Brady and set up cheap manufacturing centers in their North Carolina district. He’s clearly enjoying his role as the slightly-effeminate underdog, borrowing mannerisms from his Seth Galifianakis catalog, including a jaunty little stroll, for Huggins, whose pet pugs and chubby, dorky family don’t make for great commercial political appeal. (Said pugs are quickly replaced by real “American” dogs: a lab and a Golden Retriever.) The Huggins vs. Brady feud quickly becomes a circus of cheap tricks and publicity stunts.

Galifianakis and the supporting cast, including Dylan McDermott as a slick campaign manager, Jason Sudeikis as Brady’s right hand man, and Rose LaNasa as Brady’s Cindy McCain-esque perfect blonde wife and “Rock of Gibraltar,” are far more amusing than Ferrell. We’ve seen his George W. impression, we’ve seen the “manchild.” We’ve seen him lose his shit and run around screaming way too many times to count. Been there, done that. His comedy style feels dated and The Campaign feels slapdash, a desperate attempt to cash in on the silliness and mudslinging that comes with an election season. We know elections are often ridiculous, bringing out the worst in the candidates and the American public; there’s no sense pointing it out. The Campaign has its share of laughs, but it’s nowhere near as memorable as Ferrell’s prior films. And the baby-punching gag? C’mon, Will. You’re better than that.