The Other Guys

The Other Guys

Ferrell, Coogan and Wahlberg finally figure out they should have read the script before signing to do the movie.

(Columbia) Will Ferrell, Mark Wahlberg, Steve Coogan, Michael Keaton, Eva Mendes, Dwayne Johnson, Samuel L. Jackson, Derek Jeter, Rob Riggle, Damon Wayans Jr., Ray Stevenson, Bobby Cannavale, Natalie Zea, Brett Gelman, Anne Heche, Ice-T (voice). Directed by Adam McKay

There are heroes, men who put themselves on the line for justice and to protect those that they serve. Then again there are the other guys.

Christopher Danson (Johnson) and P.K. Highsmith (Jackson) are the former; Allen Gamble (Ferrell) and Terry Hoitz (Wahlberg) are the latter. Danson and Highsmith chase through the city after bad guys, taking them down in a blaze of glory; Gamble and Hoitz do the paperwork.

For Gamble, that’s perfectly acceptable. He lives to do paperwork and began his career in Forensic Accounting, the guys who chase the paper trail. Hoitz is a different matter. He was exiled to this team after accidentally shooting Derek Jeter during the 2003 World Series, leading to a Yankee loss. New Yorkers still hate him for that.

When Danson and Highsmith are taken out of the equation, some other team has to step in to fill the void. The initial favorites are Martin (Riggle) and Fosse (Wayans), a pair of less-than-sweet-natured rivals who delight in putting down Gamble and Hoitz. Hoitz sees this as their chance to escape the doldrums of the station – Gamble refuses to leave the station to do field work until Hoitz puts a gun to his head, quite literally.

Gamble thinks he’s found the case to break the team out; a series of building permit violations linked to a smarmy Wall Street financier named Ershon (Coogan). However, their attempted arrest of the financier brings out an Australian special forces turned Security detail chief (Stevenson) who sets off Hoitz’ cop spider sense.

The two become embroiled in a financial scheme that threatens to bring down New York City; the trouble is, nobody believes these perpetual screw-ups. So it is up to them to prove their case and save the day.

Adam McKay and Will Ferrell have combined on two of Ferrell’s best movies – Anchorman: The Legend of Ron Burgundy and Talladega Nights: The Ballad of Ricky Bobby. Perhaps this one needed a subtitle like The Other Guys: The Station Pop of Allen Gamble and Terry Hoitz or some such. That might have brought needed luck to this movie.

Quite frankly, this is one of those movies that set my teeth on edge. It’s the type of humor that thinks it’s funny to re-do the same non-sequitir over and over again; the more you repeat it, the funnier it is. In point of fact, the more you repeat it, the more obnoxious it is. For example, Michael Keaton’s long-suffering Captain Mauch has a tendency to recite lines from TLC songs and then deny that he’s doing it. It wasn’t funny the first time guys…by the fifth or sixth time they do it, I’m ready to take a chainsaw to the midsection of the writers.

There are some funny moments to be sure – Ferrell and Wahlberg are far too talented to make this irredeemable. I do like the bits where Ferrell keeps on referring to his wife Sheila (Mendes) as “plain.” Everyone who’s ever seen the woman knows she’s anything but, so that’s a non-sequitir that actually works. There’s also a scene involving Highsmith and Danson – you’ll know which one it is because it takes place at the conclusion of a jewelry robbery – that comes out of left field and actually had me roaring with laughter (ghoulish as it may have been). More stuff like this and I’d have this movie up there with The Hangover.

Unfortunately, most of the best moments are in the trailer. For reasons I cannot fathom, critics really like this movie, comparing it favorably to Kevin Smith’s similarly-themed Cop Out from earlier this year. I haven’t seen that one yet so I can’t comment on the validity of the comparisons, but I think it’s just that there has been such a dearth of genuinely good comedies this summer that critics are seizing on what is patently a mediocre movie at best and latching onto it like a life preserver during the Perfect Storm.

In a weird twist, the end credits run over a series of graphics illustrating economic facts about CEOs, ponzi schemes, Bernie Madoff and 401Ks, which looks like a very different movie – and one I probably would have liked better. It leads into an extra scene at the film’s conclusion, which shows a valiant attempt by Wahlberg to tell a joke. Outtakes can be fun after all.

I suppose it’s possible that I’m a mutant that just doesn’t get this movie, but it left me completely flat and that wasn’t the case in the movies I mentioned earlier, which I thought were some of the funniest movies of the past ten years. Surrealism isn’t necessarily comedy, a truism that even Salvador Dali understood. Apparently, McKay, Ferrell and Wahlberg don’t.

REASONS TO GO: There are some funny moments.

REASONS TO STAY: Most of the funny moments are in the trailer. The movie tends to ram its jokes down your throat over and over again.  

FAMILY VALUES: Lots of action movie violence, sexual situations and salty language so younger kids are out.

TRIVIAL PURSUIT: The Michael Keaton character Gene Mauch was named for the manager of the California Angels back in the 1980s; Ferrell is apparently a huge Angels fan.

HOME OR THEATER: If you must see it, see it at home.

FINAL RATING: 3/10

TOMORROW: The Oh in Ohio

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