Page 18 THE VILLADOM TIMES I, II, III & IV • August 18, 2010
Stepping up to the plate with many laughs
by Dennis Seuling Casting Will Ferrell and Mark Wahlberg in a spoof of action cop flicks gets an A. The two have good screen chemistry and enliven a fairly routine plot with their characters’ idiosyncrasies as they volley gags and verbal nonsense off each other with the ease of professional tennis players. The film opens with a wild action sequence involving the city’s two supercop heroes (Samuel L. Jackson, Dwayne Johnson), who hang on to speeding cars, cause massive property damage, and manage witty quips along the way, even if their efforts are directed against low-level criminals. They are the envy of the department, including Alan Gamble (Ferrell), a detective content to do paperwork and fill out other cops’ reports. His partner, Terry Hoitz (Wahlberg), suffers in indignation as the city’s most hated cop because of an incident involving a beloved New York Yankees player. The plot kicks into gear when the partners decide it’s their time to get involved in a high-profile case. Alan is reluctant, but Terry finally breaks down his resistance and they look into the suspicious dealings of Bernie Madoffinspired David Ershon (Steve Coogan). But their efforts are undermined at every turn by Ershon’s private security force, the District Attorney, and their own precinct captain, Gene Mauch (Michael Keaton). “The Other Guys” is great fun, but director Adam
Mark Wahlberg and Will Ferrellstar in ‘The Other Guys.’
McKay devotes too much time and attention to the Ershon plot. It should be a jumping off point for comedy, but it settles into a police action film in its own right. Ferrell, given the right material, can be very funny. His Adam Gamble gives him plenty of opportunity for silliness, slapstick, incongruity, and even pathos. Adam is a likable if mundane fellow thrown into circumstances that necessitate his acting like a fish out of water, a basic element of comedy. Still, Ferrell demonstrates his ability to keep the character grounded. Adam never swerves into the realm of sheer dopiness, and that keeps viewers rooting for him. Wahlberg is just wonderful as the cop itching for a case that will put him back on the map in the eyes of his co-workers and the people of New York City. He plays his early scenes with a scowl and a seething anger, often directed against partner Alan. When he makes the mistake of referring to a lion in one of his diatribes against Alan, Alan turns it around on him in a surreal monologue involving an unlikely, and hilarious, scenario of the animal world that would have biologists’ heads spinning. Eva Mendes plays Adam’s gorgeous wife, Dr. Sheila
Gamble, but is on hand mostly as a running gag, as Alan keeps referring to her as “plain,” “ball and chain,” and other harsh epithets as Terry sits in their apartment wondering who Sheila really is. Occasional indications that beautiful women are irresistibly drawn to timid Adam further baffle Terry. Buddy films rise or fall on the workability of the formula. In “The Other Guys,” the formula clicks, but is squandered as the film’s focus shifts from the two leads to a fairly familiar plot, with cars piling up, guns blasting, and windows being shot out. Rated PG-13, “The Other Guys” is light and funny, with two appealing leads. During the end credits, director McKay turns his otherwise apolitical comedy into a commentary on corporate greed and excessiveness as he flashes graphs and statistics about the unconscionable bonuses, huge bailouts, and stock values of huge banks and corporations. Though interesting, this information is jarring since it is so far afield from the tone of the movie. This is the kind of picture where amusing outtakes accompanying the end credits would be right at home.
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