The Other Guys (2010)
★★ / ★★★★
Detectives Danson (Dwayne Johnson) and Highsmith (Samuel L. Jackson) were the kinds of cops we often see in action movies. They were tough, hard-bodied, and unaffected by explosions and flying bullets around them. Not necessarily likable, they were considered as heroes. But when they jumped to their death, Detective Hoitz (Mark Wahlberg), dragging reluctant Detective Gamble (Will Ferrell) along, aimed to take the celebrated detectives’ place. Much of the humor of “The Other Guys” stemmed from exaggerations. Whether it be a character quirk, a stylized action sequence, or just an embarrassingly awkward situation, the picture milked a scene for all its worth. It worked in some ways, but it didn’t work in others. I laughed at the scenes when Hoitz would always yell at his partner, but Gamble was like a wall of sound. Great partnerships often have opposite temperaments; the latter was happy with his safe desk job but the former craved more excitement and danger. One particularly hilarious scene was the lion versus tuna tidbit. It was creative, strange, and had a sense of manic energy which gave Ferrell a chance to show how funny he could be given the right material. A few scenes that aimed to satirize C-level action movies fell completely flat. When our protagonists were about to enter an accounting office only to have seen it blow up in front of them, the scene felt forced because the one of the characters kept going on about how–in the movies–characters don’t flinch when something explodes behind them, how he needed to go to the hospital, that perhaps he had gone deaf, and so on. It wasn’t any better than the projects they wished to tease. There was a case in which Hoitz and Gamble aimed to stop a multibillion fraud involving a capitalist named David Ershon (Steve Coogan). Other than the scene in which the criminals used a giant wrecking ball to break into a jewelry store, possibly a spoof of hyperbolic superhero villains’ plans, it failed to keep me interested. Instead, I wished there were more scenes with the underappreciated Michael Keaton as the captain of the police force with a penchant for quoting TLC, referencing to his bisexual son, and holding a second job at Bed Bath & Beyond. Out of all the actors, I thought he was the only one who was funny every time he was on screen. Directed by Adam McKay, “The Other Guys” had a good sense of humor but it felt too bloated. It needed to know when to pull back and let the audiences decide which scenes were worthy of laugh-out-loud funny instead of always throwing the jokes in our faces. It trusted us to spot its allusions, but it didn’t treat us like we were smart.