The Other Guys

Directed by Adam McKay and written by McKay and Chris Henchy, The Other Guys is the story of two mismatched NYPD detectives who take on a case while other detectives do bigger jobs as they make a discovery involving financial embezzlement and such. The film is a mixture of the buddy-cop films mixed in with humor as well as an exploration into the world of finance as it’s all narrated by rapper/actor Ice-T. Starring Will Ferrell, Mark Wahlberg, Eva Mendes, Rob Riggle, Damon Wayans Jr., Steve Coogan, Ray Stevenson, and Michael Keaton. The Other Guys is a wild and adventurous film from Adam McKay.

The film follows two mismatched detectives working for the NYPD whose attempt to be taken seriously is met with constant ridicule by other detectives as they take on a case involving the world of finance. It’s a film that is a spoof of sorts of the buddy-cop films yet it also follow two different men who embark on a case that involves a multi-billionaire who has lost money to a client who wants him killed. The film’s screenplay by Adam McKay and Chris Henchy doesn’t just follow these two mismatched partners who aren’t treated with respect but also their effort to get respect from fellow officers despite the fact that neither man are considered great detectives. Allen Gamble (Will Ferrell) is a mild-mannered forensic accountant that likes to be on the desk as he’s teamed up with the very hot-tempered Terry Hoitz who is forced to team up with Gamble over an incident where he accidentally shot New York Yankees player Derek Jeter during the World Series. Following the strange death of two widely-revered but cocky detectives, Gamble and Hoitz try to take that spot as they compete with the more-experienced and respected detectives Martin (Rob Riggle) and Fosse (Damon Wayans Jr.).

During the course of their investigation of the billionaire Sir David Ershon (Steve Coogan), Hoitz and Gamble get to know each other as the former is still eager to prove himself that he can be relied on as he’s also having issues with his ex-girlfriend Francine (Lindsay Sloane) due to his own faults. In the latter, Hoitz would learn that Gamble is married to an extremely-beautiful woman in Sheila (Eva Mendes) as well as get the attraction of a lot of beautiful woman that relates to a past that Gamble is covering up. Some of the investigation relating to Sir Ershon’s embezzlement scam is a bit complicated but it’s made up for the situations that Gamble and Hoitz endure as they had to make their reports to their superior in Captain Gene Mauch (Michael Keaton) who works a second job managing a Bed, Bath, and Beyond. Captain Mauch is an oddball character not just for having a second job but also being secretive into what Gamble and Hoitz is trying to uncover. Another quirk that he has is the fact that unknowingly quotes lyrics from the famed 90s R&B group TLC.

McKay’s direction does have elements of style as it relates to a lot of the visual tropes expected in buddy-cop films while it also play with these tropes to create something that is simpler and with an offbeat sense of humor. Shot on location in New York City with additional locations in Staten Island and Albany, the film does play into a world in which its police department is considered one of the best where two men don’t feel like they’re part of that elite group. Even as they endure some very strange moments during their investigation such as talking to a couple who wants Gamble to have sex with his wife since she used to have a relationship with him back in college. While there’s some wide shots for some of the action scenes as well as some establishing shots of the locations. Much of McKay’s direction emphasizes more on close-ups and medium shots to play into the interaction with the characters and the growing partnership between Gamble and Hoitz.

Notably as the latter starts to open up about his anger issues while the former reveals to have a dark side that he’s repressing as his own personal life is about to change. McKay would also take breaks from the humor and action as it relates to the environment Gamble and Hoitz are trying to discover as it relates to Ershon and his business dealings. Notably in a final credits sequence where McKay reveals a lot about some of the financial scandals that happened in real-life showing how big it can affect everything and how it adds to Gamble and Hoitz needing to stop those going after Ershon who is already in trouble for his role. The film’s climax is definitely big as it’s expected in action films but also play into some of the silliness that occurs throughout the climax over the group of mercenaries hired to take out Ershon. Overall, McKay creates a fun and thrilling film about two mismatched partners who step in when everyone else is busy in saving New York City.

Cinematographer Oliver Wood does excellent work with the cinematography as it has elements of style in some of the interiors and exterior scenes at night while much of the daytime exteriors is straightforward. Editor Brent White does brilliant work with the editing as it does play into the many conventional ideas of editing in action films while also providing something straightforward in capturing the humor in the film. Production designer Clayton Hartley, with set decorator George DeTitta Jr. and art director Jim Gloster, does fantastic work with the look of the offices including Ershon’s posh penthouse and a bar that Gamble frequents at. Costume designer Carol Ramsey does nice work with the costumes as it is largely straightforward with the more posh look of Ershon as well as some of the somewhat-skimpy clothing that Sheila wears.

Visual effects supervisor Gregor Lakner does terrific work with a few of the film’s visual effects as it largely relate to some of the action scenes in the film including a helicopter chase scene. Sound editor George H. Anderson does superb work with the sound as it play into the chaos of some of the action as well as the places that Gamble and Hoitz go to during the sequence where they unknowingly take Ershon’s bribes. The film’s music by Jon Brion is wonderful for its low-key score that is a mixture of bombastic orchestral music with some light-hearted jazzy pieces while music supervisor Erica Weis provide a fun mix of music ranging from acts like Little River Band, Phil Collins, Wyclef Jean, the Foo Fighters, Swizz Beatz, Donovan, the Black Eyed Peas, the Hit Crew, Goldfrapp, the White Stripes, Cee-Lo Green with Eva Mendes, Rage Against the Machine, the Mamas and the Papas, and TLC.

The casting by Jennifer Euston and Allison Jones is great as it feature cameo appearances from wrestlers Brian Girard James/Road Dogg Jesse James and Monty Kip Sopp/Bad Ass Billy Gunn, Tracy Morgan, Rosie Perez, and Brooke Shields as themselves at a New York Knicks game, New York Yankees player Derek Jeter as himself, Anne Heche as a CEO who targets Ershon, Josef Sommer as the district attorney who is angry over Gamble and Hoitz’s screw-ups, director Adam McKay as a seedy hobo named Dirty Mike, Bobby Cannavale as a detective who despises Hoitz for shooting Derek Jeter, Rob Huebel as Officer Watts who keeps coming to everyone about putting money into a fund which would play into the third act, Natalie Zea as a former girlfriend of Gamble in Chrisinith, Brett Gelman as Chrisinith’s husband who wants Gamble to fuck her, Tess Kartel as a Brazilian mercenary who is attracted to Gamble, Viola Harris as Sheila’s mother, and Andy Buckley as Ershon’s attorney who is targeted for his actions relating to Ershon’s finances.

Samuel L. Jackson and Dwayne “The Rock” Johnson are terrific in their brief yet respective role as the arrogant detectives Highsmith and Danson as two guys who do so much yet would do stupid things for the NYPD. Rob Riggle and Damon Wayans Jr. are superb in their respective roles as detectives Martin and Fosse as two men who often make fun of Gamble and Hoitz for their incompetence as they try to take in the top spot that was once filled by Danson and Highsmith. Ray Stevenson is fantastic as Roger Wesley as a mercenary leader hired by the people that Ershon had stolen from as he does whatever he can to try and get rid of Gamble and Hoitz. Lindsay Sloane is wonderful as Hoitz’s former girlfriend Francine who isn’t eager to get back with him due to his anger issues as she later realizes why he is flawed as she’s unsure of taking him back.

Steve Coogan is brilliant as Sir David Ershon as a billionaire who gets himself into some trouble over money he’s stolen from a big corporation as he tries to bribe Gamble and Hoitz while dealing with the trouble he’s in. Eva Mendes is fantastic as Gamble’s wife Sheila as a doctor who is super-attractive as she knows about her husband’s dark past as she is something she refuses to take. Michael Keaton is amazing as Captain Gene Mauch as Gamble and Hoitz’s superior who is sympathetic in their need to prove to themselves while he is also offbeat for the fact that he manages a Bed, Bath, and Beyond and unknowingly quotes TLC lyrics as it’s one of Keaton’s funniest performances. Finally, there’s the duo of Will Ferrell and Mark Wahlberg in phenomenal performances in their respective roles as Allen Gamble and Terry Hoitz as two detectives who are totally different to each other in their personality as Wahlberg captures the eagerness and frustration of a man trying to do right but feels like a screw-up every time. Ferrell is more laid back as someone who is just wanting to do his job but also harbors a dark secret which starts to re-emerge where Ferrell displays a manic sense of energy where he and Wahlberg display a fun chemistry that is a joy to watch.

The Other Guys is a sensational film from Adam McKay that features top-notch performances from Will Ferrell, Mark Wahlberg, Eva Mendes, Steve Coogan, and Michael Keaton. Along with its supporting cast, witty script, high-octane action, and some hilarious moments, it’s a film that manages to do more with buddy-cop action film while taking the time to explore different places while maintaining its humor. In the end, The Other Guys is an incredible film from Adam McKay.

Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - Step Brothers - Anchorman 2: The Legend Continues - The Big Short - (Backseat) – The Auteurs #63: Adam McKay

© thevoid99 2018

Step Brothers

Directed by Adam McKay and screenplay by McKay and Will Ferrell from a story McKay, Ferrell, and John C. Reilly, Step Brothers is the story of two forty-year old men who reluctantly become step brothers after their parents marry as they start off as enemies only to become friends in their love of chaos and leading a slacker lifestyle. The film is an off-the-wall comedy with elements of anarchy in which two men refuse to grow up as they try to do their own thing while endure some strange situations. Starring Will Ferrell, John C. Reilly, Richard Jenkins, Mary Steenburgen, Adam Scott, Kathryn Hahn, Andrea Savage, and Rob Riggle. Step Brothers is a hilarious and confrontational film from Adam McKay.

A man and woman meet and fall in love at a convention where they both get married much to the dismay of their sons who are in their 40s as they’re forced to share a room together as they dislike each other believing they’re a detriment to their slacker lifestyle. That is pretty much the film in a nutshell as it revolve two guys who don’t want to grow up and refuse to get jobs as they start off as enemies only to realize how much they have in common as they create a lot of chaos much to the dismay of their parents. The film’s screenplay does follow a simple formula of these two men hating and then embracing each other while plotting to create their own business in order to get their parents off their back.

Yet, Brennan Huff (Will Ferrell) and Dale Doback (John C. Reilly) both share an equal sense of disdain towards Brennan’s younger brother Derek (Adam Scott) who often gloats his success as a helicopter licensing agent as well as do whatever it takes to humiliate Brennan. Though the script does follow a simple plot formula, there is a looseness to it in terms of its approach to dialogue and improvisation as well as the fact that it’s a story that doesn’t need a lot of plot schematics. It’s all about the idea of absolute and total chaos which does give the story something that can be described as an anarchist film of sorts.

Adam McKay’s direction may have simple ideas to compositions and creating moments that are light-hearted and funny yet it’s his approach to improvisation and total mayhem is what is key to the film. There is something confrontational about everything that is going on though it doesn’t start out like that first when Brennan’s mother Nancy (Mary Steenburgen) is at a convention watching Dale’s dad Robert (Richard Jenkins) give a speech as he look at her and all of a sudden the two fall in love and have sex though nothing gratuitous is shown. It’s when Brennan and Dale finally meet face-to-face is where the film starts to take shape immediately and building up slowly for this sense of unexpected and total sense of anarchy. Even as McKay knows where to shoot a scene to play into these moments of chaos such as Brennan and Dale’s first fight over the fact that Brennan touched Dale’s drum set and rubbed his testicles on them or the moment the two are sleepwalking and causing trouble. Then there’s these moments that push the envelope of good and bad taste such as a scene of Brennan and Dale being assaulted by middle school kids in which the former is forced to do something extremely awful.

The direction also showcase moments that are quite crazy which relate to a subplot in which Dale is having a reluctant affair with Derek’s wife Alice (Kathryn Hahn) who hates being married to Derek. There are also these moments that aren’t afraid to offend as it relate to Brennan and Dale trying to ruin Derek’s sale as McKay’s direction is very offbeat in those moments. The film’s climax at this event known as the Catalina Wine Mixer is definitely a culmination of everything Brennan and Dale have endured in their attempt to be free but also deal with expectations of conformity. What happens is this strange mixture of anarchy and beauty which is kind of indescribable but an absolute joy to watch and what better place to do than at the fucking Catalina Wine Mixer. Overall, McKay creates an outrageous and off-the-wall film about two immature men who become stepbrothers.

Cinematographer Oliver Wood does excellent work with the film’s cinematography from the colorful and sunny look of the locations in the day to the usage of lights for some of the interiors set at night. Editor Brent White does nice work with the editing as it has elements of style in the slow-motion cuts as well as some of the montages and other moments to play into the humor. Production designer Clayton Hartley, with set decorator Casey Hallenbeck and art director Virginia L. Randolph, does fantastic work with the look of the house the brothers live in as well as their bedroom and the look of the Cataline Wine Mixer. Costume designer Susan Matheson does terrific work with the costumes as much of its casual including the tuxedos the stepbrothers wear for their job interviews.

Visual effects supervisor Rocco Passionino does some good work with some of the minimal visual effects as it is mostly set-dressing including some funny scenes involving the stepbrothers dealing with some awful kids. Sound editor George H. Anderson does superb work with the sound in the way some of the chaotic moments in the film are presented via sound as well as some of the moments during the Catalina Wine Mixer. The film’s music by Jon Brion is brilliant for its mixture of jazz and kitsch to play into the funny moments of the film while music supervisor Hal Willner creates a fun soundtrack that feature music from Hall & Oates, LCD Soundsystem, Vampire Weekend, Vanilla Ice, Q-Tip, Dizzee Rascal, Dilated Peoples, KO & the Knockouts, Brenda Lee, the Mighty Bosstones, and the Kinks.

The casting by Allison Jones is great as it feature some small roles and appearances from Seth Rogen as a sporting goods manager, Matt Walsh as a heckler at the Catalina Wine Mixer, Horatio Sanz as a Billy Joel tribute band singer at the Catalina Wine Mixer, Gillian Vigman as a woman interviewing the stepbrothers for a job, Phil LaMarr as a man trying to buy the family home, Lurie Poston and Elizabeth Yozamp as Derek and Alice’s smug and spoiled asshole kids, Logan Manus as a co-worker of Derek, and Rob Riggle as another co-worker of Derek in Randy who wants to punch Brennan because of his ugly face. Andrea Savage is wonderful as Brennan’s therapist Denise who tries to help him only to deal with the fact that Brennan is in love with her. Kathryn Hahn is fantastic as Derek’s wife Alice who falls for Dale as she provides some of the funniest moments in the film about wanting to fuck Dale so hard in her hatred of Derek.

Adam Scott is excellent as Derek Huff as Brennan’s younger brother who is a total fucking asshole that thinks he’s better than everyone while rubbing his own success and ambitions on his brother as well as trying to make Dale’s father Robert as his best friend. Mary Steenburgen and Richard Jenkins are amazing in their respective roles as Nancy Doback and Robert Huff with Steenburgen as the more sensible of the two parents trying to understand them but also put her foot down with Jenkins as the more strict of the two as he tries to get them to conform but also reveal his own faults on the idea of growing up. Finally, there’s the duo of Will Ferrell and John C. Reilly in phenomenal performances in their respective roles as Brennan Doback and Dale Huff as the two just go all-out in terms of being outrageous and off-the-wall with Ferrell as the more childish of the two due to his trauma and Reilly as being more of the funny guy as they’re just a joy to watch.

Step Brothers is a fucking wild and tremendous film from Adam McKay that features hilarious performances from Will Ferrell and John C. Reilly. Along with a great supporting cast, a premise that goes way beyond its simple idea, and scenes that play from the profound to the absolute profane. It’s a film that doesn’t try to do anything to go for laughs but rather be insane and confrontational enough to see some of the humor of it in the most inventive way. In the end, Step Brothers is a magnificent film from Adam McKay.

Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - The Other Guys - Anchorman 2: The Legend Continues - The Big Short - (Backseat) - The Auteurs #63: Adam McKay

© thevoid99 2017

22 Jump Street

Based on the TV show 21 Jump Street, 22 Jump Street is the story where two cops go to college to find the supplier who had been creating new drugs that has been circulating into the world of college. Directed by Phil Lord and Chris Miller and screenplay by Michael Bacall, Oren Uziel, and Rodney Rothman from a story by Bacall and Jonah Hill. The film is a spoof of sorts on sequels where characters of the first film do the same thing for the second film set in college as Jonah Hill and Channing Tatum reprise their roles as Morton Schmidt and Greg Jenko who deal with their friendship. Also starring Amber Stevens, Peter Stormare, Nick Offerman, Rob Riggle, Dave Franco, and Ice Cube as Captain Dickson. 22 Jump Street is a witty yet off-the-wall film from Phil Lord and Chris Miller.

The film is essentially a re-hash of sorts of the first film where Schmidt and Jenko have to go undercover and pretend to be college students so they can the dealers and suppliers of a new drug that is about to become big in college campuses. Along the way, Schmidt and Jenko endure challenges that would separate them while they also deal with new enemies and secrets that come into play during their investigation. It’s a film that definitely takes the same storyline, plot-points, and such of the first film but makes it aware that it is a re-hash where there’s elements of the fourth-wall being broken as the characters often talking about budgets and doing the same thing all over again. The film’s screenplay isn’t afraid to comment on doing things all over again while there’s a lot more hilarity that goes on as well as suggestions that Schmidt and Jenko’s friendship is so much more. Notably as those that Schmidt and Jenko surround themselves would tell one person that the other is dragging him down.

Phil Lord and Chris Miller’s direction definitely plays into the same style as the first but with bigger set pieces, action sequences, and all sorts of things where it knows that it is making fun of itself. The compositions are quite simple at times but also stylish as it plays to Jenko’s ability to do parkour and such while Schmidt would try to do that as well. Another hilarious sequence is another take on the two getting high on drugs where both Schmidt and Jenko each get a different reaction. There’s also sequences where Lord and Miller play up the bro-mance between Schmidt and Jenko as it does have this chaotic sense of style that is a play on the cinematic style of Michael Bay.

The action sequences are over the top as much of it is shot in New Orleans while its climatic showdown is shot in Puerto Rico as it is this very wild take on spring break. While the results is obvious predictable, it is followed by a closing credits sequence that not only breaks down the fourth wall but also in the idea of what is to come in all sorts of genres and such. Overall, Lord and Miller create a very smart and extremely funny film about two guys pretending to be college kids to bust up some drug dealers, have a good time, and be aware that they’re doing the same thing all over again.

Cinematographer Barry Peterson does excellent work with the cinematography in terms of the vibrant exterior colors of the locations in its interior and exterior settings. Editors David Rennie and Keith Brachmann do fantastic work with the editing where it plays into the chaotic, speed-editing style of most action blockbusters while keeping things straightforward so that audiences can make sense of what is happening. Production designer Steve Sakland, with set decorator Tracey A. Doyle and art director Scott Plauche, does nice work with the set pieces from the frat house that Jenko gets accepted to as well as the new 22 Jump Street base that was created to showcase the bigger budget.

Costume designer Leesa Evans does terrific work with the costumes as it plays to the world of college as it‘s mostly casual. Visual effects supervisors Edwin Rivera and Peter G. Travers do amazing work with some of the visual effects that includes a hilarious scene of Schmidt and Jenko high on the new drug and the different effects it had on them. Sound editor Geoffrey G. Rubay does superb work with the sound from the sound effects of gunfire to the atmosphere of the parties. The film’s music by Mark Mothersbaugh is brilliant for its mixture of orchestral music with some electronic-based cuts while music supervisor Kier Lehman brings in a fun soundtrack that features a lot of dubstep, hip-hop, electronic music, and some songs from the 80s.

The casting by Nicole Abellera and Jeanne McCarthy is amazing as it features some notable appearances from Rob Riggle and Dave Franco reprising their roles as Mr. Walters and Eric, respectively, as well as Caroline Aaron and Joe Chrest as Schmidt’s parents, and Nick Offerman playing the role of Captain Hardy who puts Schmidt and Jenko back on the Jump Street program. Wyatt Russell is terrific as the jock Zook that Jenko befriends while Jimmy Tatro is good as Zook’s friend Rooster. The Lucas Brothers are funny as twin drug dealers who always say the same thing while Marc Evan Jackson is wonderful as the college psychiatrist who is the initial suspect as the supplier. Jillian Bell is brilliant as Mercedes who dislikes Schmidt as she is very creepy as well as being very funny. Amber Stevens is excellent as Maya as an art student Schmidt falls for as she knows about the dealer who had died as she reluctantly let Mercedes stay in her dorm room.

Peter Stormare is superb as the antagonist Ghost as this old-school drug dealer that Schmidt and Jenko try to capture as he could be connected to the new drug that is being sent out to college campuses. Ice Cube is hilarious as Captain Dickson who continues to berate Schmidt and Jenko as Cube gets more to do as it relates to a minor character in the film. Finally, there’s Jonah Hill and Channing Tatum in fantastic performances as their respective characters Schmidt and Jenko. Hill displays a lot of the sensitivity and awkwardness of Schmidt that is fun to watch while Tatum brings in that physicality and dimness to his character as the two definitely have fun in their roles while not being afraid to showcase some homoerotic overtones in their bro-mance.

22 Jump Street is an excellent film from Phil Lord and Chris Miller. Featuring a great cast and a witty approach to the idea of sequels, it is a film that isn’t afraid to play dumb while be aware that it’s rehashing everything that made the first film so successful. Especially as it isn’t afraid to give the audience what they want as well as be even sillier. In the end, 22 Jump Street is a fantastic film from Phil Lord and Chris Miller.

Phil Lord & Chris Miller Films: (Cloudy with a Chance of Meatballs) - 21 Jump Street - The Lego Movie

© thevoid99 2014

21 Jump Street

Based on the 1980s TV show by Patrick Hasburgh and Stephen J. Cannell, 21 Jump Street is the story of two former high school classmates who become undercover police officers as they return to high school to uncover a drug bust. Directed by Phil Lord and Chris Miller with a script by Michael Bacall based on a story by Bacall and Jonah Hill. The film is an updated take on the hit 80s TV show that starred Johnny Depp as it explores new high school social orders and the world of undercover police officers. Starring Jonah Hill, Channing Tatum, Brie Larson, Dave Franco, Rob Riggle, Ellie Kemper, Nick Offerman, and Ice Cube. 21 Jump Street is a riotous yet very entertaining film from Phil Lord and Chris Miller.

Two former schoolmates in Morton Schmidt (Jonah Hill) and Greg Jenko (Channing Tatum) meet up seven years after senior year in the police academy where they become buddies helping each to become police officers. After being assigned to park patrol where they would encounter a drug trade as they managed to nab a dealer but Jenko forgot to read the Miranda rights. After the screw-up, Captain Hardy (Nick Offerman) has the two transferred to a revived undercover specialty unit led by Captain Dickson (Ice Cube) who would have them return to high school to uncover a new drug craze that is spreading around various high school campuses. Living with Schmidt’s parents for the assignment, Schmidt and Jenko learn that the social order of high school has changed as they pretend to be brothers.

With Jenko hanging out with the nerds as he accidentally takes Schmidt’s classes, Schmidt ends up hanging out with the popular kids led by Eric (Dave Franco) who is the main dealer of this new drug. Wanting to impress Eric, Schmidt and Jenko throw a party where they gain Eric’s trust while Schmidt also befriends Eric’s friend Molly (Brie Larson). With Schmidt part of Eric’s inner circle while Jenko manages to get a group of nerds to tap into Eric’s phone to hear conversations. Yet, Jenko becomes upset over Schmidt’s newfound popularity in school as a moment to uncover more of what Eric is doing goes bad. When prom is about to start where a deal is about to happen, the two finally decide to figure out what is going on with some surprising results.

Since the concept of the film is about a group of undercover who pretend to be high school students in order to infiltrate whatever drug culture is out there. The idea of a film based on an old TV show doesn’t seem very promising as a film. However, the result ended up being a whole lot better than its concept suggests by exploring the world of the high school social order where two young men become baffled by these changes. Particularly as one of them was a jock and the other was a nerd back in school where neither of them came out of high school satisfied. Going back would give them a chance to a do-over as well as becoming great cops but the changing times and the new drug craze would have them be in very different positions.

Michael Bacall’s screenplay does follow a formula of sorts that is expected in these action buddy-comedies. Taking that formula and infusing it with the concept based on the TV does allow Bacall to for a lot of bawdy humor in the fact that these two guys are inept cops. Schmidt is insecure due to his physicality, lack of social skills, and can’t really fire his weapon at someone. Jenko is an imbecile who gets by with his looks but can’t remember the Miranda rights while is pretty ignorant about school subjects. Together, they become this unlikely duo where they would start to improve themselves in different ways. Schmidt becomes more confident while Jenko starts to use his brains where they would become this awesome duo.

Bacall’s script succeeds in developing the characters while reveling into how times had changed from the mid-2000s to the early 2010s. Back then, jocks ruled where a guy like Jenko was able to get away with anything, except in academics, while Schmidt tries to be cool by looking like Eminem only to be rejected by a girl. Through some witty dialogue that reaches into lots of raunchy humor and action scenes that revel in a mix of humor and playing with clichés. Bacall creates a truly fantastic yet extremely enjoyable buddy comedy that does more than what its genre suggests.

Directors Phil Lord and Chris Miller do an excellent job in creating a buddy comedy that mixes over-the-top violence with frat-boy humor that is pretty wild. While a lot of the compositions in terms of its simpler, light-hearted moments are quite straightforward. They’re still engaging for the way it will play up the drama while they create one of the film’s most hilarious moments involving this drug that takes its time to play up the humor. Notably as it would escalate from one funny moment to something funnier and funnier as the drug itself proves to be very powerful. It’s among the many moments in the film where Lord and Miller are allowed to let the humor play out while getting their actors to be really comfortable in their parts.

The film’s action scenes also have Lord and Miller play up with the clichés as its most notable is this hilarious chase scene involving bikers, traffic jams, and all sorts of things that is expected in the action genre. What is unique about it is the fact that they play with what is expected as the main characters are wondering if something is about to happen and they’re caught off-guard. Notably in the film’s climatic moment where they meet up with the supplier as it would include a surprising mix of over-the-top violence and humor as it proves that Lord and Miller are able to do a lot with these sequences while not going too far into the conventions. Overall, Lord and Miller create a truly exhilarating and funny action buddy comedy that does a whole lot more for its genre.

Cinematographer Barry Peterson does a nice job with the film‘s photography to play up the sunny look of the locations, set in New Orleans, while providing some stylish looks for some of the film‘s nighttime exterior and interior settings. Editor Joel Negrone does an excellent with the editing in creating amazing montage scenes to play up some of the craziness of the humor with swift cuts that aren‘t too fast while maintaining more straightforward cuts for the light-hearted moments. Production designer Peter Wenham, with art directors Scott Plauche and Thomas Valentine as well as set decorator Bob Kensinger, does a superb job with the look of the 21 Jump Street base that Captain Dickson works at that includes a hilarious prop of a Korean version of Jesus Christ. Costume designer Leah Katznelson does a very good job with the costumes from the early look that Schmidt wears in the film‘s first scene to more casual yet stylish looks to play up the many cliques in high school.

Visual effects supervisor Richard Edlund and Helena Packer do terrific work with some of the film‘s minimal visual effects scene including some of hilarious montages involving the side effects of what happens when being on the drug. Sound editor Geoffrey G. Rubay does a superb job with the sound work to capture the atmosphere of the party scene as well as the chaos in some of the film’s violent moments. The film’s score by Mark Mothersbaugh is wonderful for the thrilling score that mixes bit of orchestral elements as well as electronic music to play up the energy of the action scenes. Particularly as the film’s soundtrack is a mix of party music for many of the party scenes.

The casting by Nicole Abellera and Jeanne McCarthy is brilliant for the ensemble that is created which does include cameos from a few actors of the original TV show. Notable small roles include Dakota Johnson as an undercover cop, Caroline Aaron as Schmidt’s smothering mother, Jake Johnson as the school principal, DeRay Davis as a drug dealer named Domingo, Nick Offerman as Schmidt and Jenko’s original superior Captain Hardy, and Johnny Simmons as a nerdy kid that Jenko befriends. Rob Riggle is very good as the brash P.E. coach Mr. Walters who always tries to intimidate Schmidt and Jenko while Ellie Kemper is very funny in a small role as science teacher who is sexually attracted to Jenko. Dave Franco is excellent as the laid-back drug dealer Eric who tries to do things low-key in an attempt to be powerful.

Ice Cube is great as the profanity-spouting and intimidating Captain Dickson who always berates Schmidt and Jenko while trying to get them in line as it is Cube going back to his gangsta roots. Brie Larson is wonderful as Molly whom Schmidt falls for as Larson brings a nice charm to her character while proving be just as bawdy as the guys in the film’s third act. Finally, there’s the duo of Jonah Hill and Channing Tatum as they really are the heart and soul of the film. In the role of Schmidt, Hill brings a goofy charm to his character that tries hard to be cool while also being inept when it comes to getting physical. For the role of Jenko, Tatum is the film’s real surprise as he brings a real laid-back humor that also goes a little out there as he seems very comfortable playing the role of a dim cop who later becomes smart. Hill and Tatum’s chemistry is a joy to watch in the way they interact and do hilarious things together.

21 Jump Street is a flat-out hilarious buddy action-comedy from Phil Lord and Chris Miller featuring amazing performances from Jonah Hill and Channing Tatum. Along with amazing supporting work from Brie Larson, Dave Franco, and Ice Cube plus lots of insane gags that will keep audiences laughing their ass off. It’s a comedy that gets it right in terms of taking the premise of the original 1980s TV show and making it feel fresh while paying tribute to that show. It’s also a comedy that isn’t afraid to go the extra edge of being raunchy and inappropriate just so it can get a laugh in the right way. In the end, 21 Jump Street is marvelously-crafted action-comedy from Phil Lord and Chris Miller.

Phil Lord & Chris Miller Films: (Cloudy with a Chance of Meatballs) - The Lego Movie - 22 Jump Street

© thevoid99 2012