Gunfight at the OK Corral
(2013) Supernatural Comedy (Universal) Ryan Reynolds, Jeff Bridges, Kevin Bacon, Mary-Louise Parker, Stephanie Szostak, Robert Knepper, James Hong, Marisa Miller, Mike O’Malley, Devin Ratray, Larry Joe Campbell, Michael Coons, Christina Everett, Michael Tow, Lonnie Farmer, Piper Mackenzie Harris, Ben Sloane, Catherine Kresge. Directed by Robert Schwentke
Just because we’re dead doesn’t mean there aren’t any rules. When you die, you depart this mortal coil and drift skyward into the next realm where you will be judged and your final destination assigned. A lucky – or unlucky, depending on how you look at it – few are yanked out of line because they have certain skills. They become part of an elite law-keeping force – the Rest in Peace Department.
Nick Walker (Reynolds) is a Boston cop and up until now, a good one. He and his partner Bobby Hayes (Bacon) stumbled onto some gold during a routine drug bust and now are keeping the stuff out of evidence. Nick, who wants to build a better life for his wife Julia (Szostak), is having second thoughts however. He just can’t bring himself to be a dirty cop. Bobby has no problem with it however and just to show Nick what a good sport he is about it he shoots him in the face.
Nick’s trip to judgment is interrupted (as you might guess from the first paragraph) and is yanked into a sterile-looking office where a bored-looking functionary named Proctor (Parker) basically tells him what’s what and offers Nick a 100-year contract with the R.I.P.D. Or, of course, he can go ahead and face judgment.
Nick isn’t quite ready for that so he accepts and is assigned to Raycephus Pulsipher (Bridges), better known as Ray – a cantankerous Wild West sort that would have been played (or at least voiced) by Slim Pickens a few decades back. Ray’s none too happy about having a partner – particularly a green-behind-the ears (literally) rookie. However, he shows him the ropes albeit reluctantly.
The job of the R.I.P.D. is to locate souls who had somehow stayed on Earth after death and bring ’em back for judgment. Apparently earth and death don’t mix and the souls begin to rot, developing a stank (as Roy puts it) that can be noticed by electronic glitches, unusual amounts of rust, rot, mildew and dead plants and of course human-looking people who when confronted with cumin suddenly transform into fleshy, putrescent masses of rot that have superhuman strength, can bound about like a kangaroo on steroids and generally wreak havoc. These rotting souls, which are called Deados, need to be kept from human attention in order to keep the universe in balance. Oh, and R.I.P.D. officers on Earth don’t look like their earthly selves; Nick appears to be an elderly Asian man (Hong) and Roy a smoking hot underwear model (Miller, who happens to be a smoking hot underwear model).
In a case of cosmic serendipity that only a Hollywood screenwriter could hatch, Nick’s first case involves a Deado named Stanley Nawlicki (Knepper) who – wonder of wonders! – has pieces of gold just like the ones Nick was keeping. That leads him to investigate his old partner who he still has some unfinished business with which leads to a conspiracy to turn the one-way portal to the afterlife into a two-way street using an ancient artifact (there are always ancient artifacts in these stories) called the Staff of Jericho which if activated will literally create Hell on Earth as the Dead overwhelm the living. Or it could just be this week’s episode of The Walking Dead.
Based on the 2001 Dark Horse comic of the same name, R.I.P.D. has a clever title and a not-bad premise to work with. Schwentke provides some pretty cool visuals, from the Men in Black-esque headquarters to the Ghostbusters-esque monsters. But therein is the rub – the visuals, while cool in and of themselves, remind you of something else. I don’t have a problem with borrowing – even borrowing liberally – from other visual looks but I don’t recall anything in the movie that looked especially unique.
Reynolds has gotten a lot of flack lately for his appearances in subpar movies (much as Ben Affleck did a few years back) which I think is patently unfair – Reynolds is charming and appealing but his character doesn’t really play to those strengths. Here he’s kind of grim and obsessive and that really isn’t his forte; when Reynolds is at his best he’s a bit of a smartass, like his work as Deadpool in X-Men Origins: Wolverine (and when is his Deadpool movie coming out 20th Century Fox executives? We’re waiting!). Had his role been a lot lighter, the movie would have been better. Instead, he’s essentially a straight man for Jeff Bridges.
And there’s no shame in that. Bridges is a terrific actor and he hams it up here for all its worth, which is considerable. He goes on and on about having a coyote gnaw on his bones after his demise which gets a bit tiresome but then his character is supposed to be tiresome. Kevin Bacon knows how to be a smooth, vicious baddie and he pulls it off here.
The worst crime this movie commits though is a lack of energy. There’s no sense of fun here, like the cast and crew were performing a chore rather than having a good time. This is the kind of movie that should be made with a twinkle in the eye and a sly wink to the audience but you don’t get that sense here. The elements are all there for a really good summer movie but the whole doesn’t add up to the sum of its parts. It’s not as bad as the critics say it is – but it isn’t as good as it could have been either.
REASONS TO GO: Clever premise. Bacon and Bridges do some fine work.
REASONS TO STAY: Feels flat. Derivative.
FAMILY VALUES: A lot of violence, much of it of the Looney Tunes variety. Some sexuality and a bit of language (including some suggestive dialogue).
TRIVIAL PURSUIT: This marks the fourth film based on a comic book that Ryan Reynolds has appeared in to date.
CRITICAL MASS: As of 7/29/13: Rotten Tomatoes: 12% positive reviews. Metacritic: 25/100; the reviews were dreadful, coming as a surprise to no one.
COMPARISON SHOPPING: Beetlejuice
FINAL RATING: 6/10
NEXT: Fruitvale Station
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