Tag: 21 jump street

22 Jump Street


22 Jump Street (2014)
★★★ / ★★★★

Given that I felt lukewarm toward Phil Lord and Christopher Miller’s “21 Jump Street,” the idea of yet another sequel—born from only a slightly above average reboot no less—did not exactly excite me. That is, until I saw the trailer for “22 Jump Street,” also directed by Lord and Miller, which showcases a level of self-awareness, an attitude that reflects my sentiment: “Another sequel? Is this really necessary?” I thought then that it just might work. Necessary it is not, but it does work.

Schmidt (Jonah Hill) and Jenko (Channing Tatum) has botched up yet another operation. Captain Dickson (Ice Cube) has a solution: assigning the not-so-dynamic duo on a very similar case that they have managed to solve in the past, only this time they are going undercover as college students instead of high school students. A girl was found dead. It is believed that her passing was due to a drug called WHYPHY—similar to Ritalin during its early phases but has pernicious effects later on. Schmidt and Jenko must find the dealer which will then allow them to capture the supplier.

Although the picture is not riotously funny in every single scene, its constant willingness to go out of its way to look silly or stupid is so infectious, one cannot help but crack a smile through the attempts. However, when the most effective punchlines do come around eventually, they tickle the gut as a feather does to the foot.

A weakness I found in its predecessor is the unconvincing arc between Jenko and Schmidt. That is, how their rivalry evolved into a strong friendship. Here, since they start off having a strong bond already, the screenplay gets more of a chance to play around with that friendship. The “bro-mance” between the lead characters, though overplayed during the second half, are very funny.

Hill has a way of making Schmidt come across so needy and clingy at times that we relate to Jenko wanting to get to know other people who are more like himself: into football, working out, binge-drinking (Wyatt Russell). Tatum plays an oaf of a character but we love Jenko anyway because the jokes directed at or coming from him are good-natured and full of energy. He, too, is good-natured when it comes down to it and so it is impossible not to like him.

Thus, like classic partnerships, Schmidt and Jenko are opposites. We all know what they say about opposites and so the writers—Michael Bacall, Oren Uziel, and Rodney Rothman—must find fresh ways to make the idea amusing. Since Hill and Tatum’s styles of comedy are different—though not exactly opposites—the comedic situations tend to work more than a handful of times. I enjoyed that the actors seem game for anything—even making fun of their physiques as well as their past roles in other movies that are considered to be “unsuccessful.” (I enjoyed Roland Emmerich’s “White House Down.”)

It could have benefited from a stronger investigation or more sleuthing. The protagonists are supposed to be undercover cops after all. This shortcoming is also found in the first picture. The filmmakers wish to make the same movie and poke fun of it through a heightened sense of self-awareness—which is fine. But the approach proves to be a double-edged sword in that it is likely to have similar deficiencies unless the writers actively try to work around it. I suppose they are able to do this—at least to a degree—because such a limitation is less severe here.

“22 Jump Street” offers a good time including a little bit of sweetness. It targets many things—from the ritualistic stupidity of undergraduate life and all it has to offer to very close male friendships—but the material never results to being mean-spirited about any of them. Since we are experiencing a period of very cynical and pessimistic filmmaking, that specific quality is, in my eyes, an achievement worthy of praise.

21 Jump Street


21 Jump Street (2012)
★★ / ★★★★

After graduating from a police academy, Schmidt (Jonah Hill) and Jenko (Channing Tatum), current best buds but former high school nerd and jock, respectively, thought their career would be as exciting as a fast-paced action movie. A bucket of cold water to the face, their first assignment turned out to be patrolling a public park, tedious and unchallenging until a possible drug bust that could give them a promotion. When the duo finally apprehended one of the drug-dealing bikers, Jenko had forgotten to read the perp’s Miranda rights. Due to their incompetence and immaturity, as a form of punishment, Schmidt and Jenko were assigned by their captain to infiltrate drug dealers in a high school and find their supplier. “21 Jump Street,” based on the screenplay by Michael Bacall, made me laugh, although not consistently, so there was no denying that the comedy was there. However, when the jokes were not the centerpiece and the film focused on the investigation involving the drug that killed one of the students (Johnny Simmons), there was a dearth of ingenuity in Schmidt and Jenko’s procedures. It seemed as though they only happened to stumble upon pieces of information which may or may not relate to their assignment. I got the sense that the writer, never the characters, was the one putting the pieces together. This was disappointing because we were eventually supposed to believe that Jenko and Schmidt were ready for real police work. I was far from convinced. If I was watching a comedy show, I would be ecstatic to be entertained by them. They were sarcastic in just the right moments but it was obvious that they were good-natured guys. But if I was a person who actually needed help or was a victim of a crime, I would be very worried that the job, delivering justice and the like, wouldn’t be performed expediently. Furthermore, Jenko and Schmidt’s relationship did not have an interesting arc. I liked that the writing was cursory in glancing through their sort-of rivalry when they were in high school. It wasn’t necessary that we got to see how much of an outcast Schmidt was nor did we have to see Jenko being the cool hunk. What I expected, however, was getting a real sense of the ugly details of their past once they returned to high school. I waited for good reasons why Schmidt and Jenko acted the way they did once they were, in a way, transported to their past. Instead, it relied too much on Schmidt wanting so desperately to be cool, pretty much becoming a lapdog of Eric (Dave Franco), the kid they were supposed to watch in suspicion that he was directly related to the source of the drug in question, and Jenko hanging out with the nerdy Chemistry guys. What the film lacked was not only a genuine connection between its protagonists but how that connection was challenged and transformed so that they could become better friends and, perhaps more importantly, reliable partners out in the field when things got really tough. The chase scenes in “21 Jump Street,” directed by Phil Lord and Chris Miller, were enjoyable, at their best when they poked fun of other action flicks. While Hill and Tatum seemed game to banter and get into all sorts of physical humor, without the relatable pieces to support the punchlines, the picture was only mildly and inconsistently entertaining.