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.
Cape Fear (1991)
★★ / ★★★★
Martin Scorsese’s “Cape Fear” was about a man (Robert De Niro) who was recently released from a fourteen-year prison sentence. The moment he got out, he made it his goal to make his former lawyer’s (Nick Nolte) life a living hell by torturing his family (Jessica Lange as his wife and Juliette Lewis as his daughter) and his budding flame (Illeana Douglas). I think I was particularly tough with this film because I expect a lot coming into a Scorsese picture. In trying to analyze things such as motif, consistency of tone, foreshadowing and other elements, I found myself not impressed with the big picture. I thought the storytelling was scattered because there were too many times when De Niro and Nolte would confront and threaten each other and it got old pretty quickly. However, I did like the fact that everything about this film was exaggerated–the soundtrack, the characters’ emotional reactions to certain events, the decisions they chose to tackle–to the point where the film almost felt comical instead of chilling. The style somewhat reminded me of Quentin Tarantino’s. The two scenes that stood out to me were when Lewis and De Niro had a “talk” in the theater and when De Niro broke into the family’s home as they tried to trap him. I felt like those scenes had Scorsese’s signature of wit, irony and just enough tension to keep us engaged because we were completely aware of the fact that the antagonist had the upperhand. Those scenes were so powerful, I felt like I held my breath during those times. Unfortunately, I felt like the rest of the picture did not quite hold up to those highs and I was somewhat underwhelmed when it was over. When I look back on it, while it was nice that De Niro’s character brought out a lot of almost repressed issues of the family, I still felt as though the characters were one dimensional. It was so unlike Scorsese’s movies because most of the time he features characters who are complex because they want to redeem themselves. In here, I saw Nolte’s character as a person who was a cheater and only felt bad for his actions because he got caught and problems were quickly proliferating in her life. If I did not know that Scorsese directed this picture, I most likely would not have guessed that it was indeed his work. Granted, one could argue that I shouldn’t compare “Cape Fear” to the director’s other projects as a basis of a film review. And I agree. I just wanted to emphasize the particular mindset I had while watching the movie. Perhaps with a second viewing I’ll be able to enjoy it more. The elements of creating a great thriller were certainly there but I felt like they did not come together as well as they should have had.