Plenty of ink has been spilled on the evolution (or, depending on who you’re talking to, de-evolution) of Adam McKay, who has gone from the “Saturday Night Live” writers room to the auteur of such likably goofy Will Ferrell vehicles as “Anchorman” and “Talladega Nights” to the Oscar-winning purveyor of message movies like “The Big Short” and “Vice.” His critics, and there are plenty of them, have accused McKay of committing the ultimate crime for a comic artist: taking himself too seriously,