Films | Movie Reviews | THE OTHER GUYS – Review


Posted by Editor on October 23, 2010 | No Comments


PRODUCER – Gary Sanchez Productions, Mosaic Media Group (as Mosaic),Wintergreen Productions

DIRECTOR – Adam Mckay

WRITER – Adam Mckay, Chris Henchy

CAST – Will Farrell, Mark Walhberg, Samuel Jackson, Dwayne Johnson, Eva Mendes.

MUSIC – Jon Brion

Every organisation, especially public, has two faces. One: the dynamic heroes, the role-models, leaders from the front, the face. And the other that forms the body, rather the tail. The ‘common’ employee who ‘works’, follows and does his meagre part in the whole scheme of things. ‘The Other Guys’ takes up this end of the stick to tell a story of two guys, one screaming to let the hero out and the other dying to suppress it.

The dynamics of such opposites could be interesting to observe were it in real life. But ‘The Other Guys’ is not about real life. It is a cute-n-comic mish-mash film of two guys stuck in a place they are uncomfortable in, fighting their demons within and without. (Allen Gamble)Will Ferrell and Terry Hoitz Mark Wahlberg are policemen in disgrace,confined to do desk jobs. While Terry’s blood boils at having to do banal paper-work, Allen hides behind it in an effort to keep his balance, his ‘dark other side’ in check even denying that his sexy wife (played by Eva Mendes) is sexy. Do they succeed in what they want?

This journey is thrown in with a botched-up case involving a conglomerate and a shady capitalist which turns into a funny caper with more botches than wins on the part of these two. Well-written comic lines add to the droll events and pepper up a light-hearted popcorn outing which the chemistry of Farrell and Walhberg does ample justice to.

The preamble of the film is high-energy, made up of the antics of adrenaline-shot Samuel Jackson and Dwayne Johnson, the heroic faces of the police organisation. But the high-light of the film is the pair, more so Farrell than Wahlberg. His plaid, staid Gamble with that X-quality of attracting hotties, is played with an excellent nervous caprice that does not allow it to slip into stereotype. Wahlberg’s angry and frustrated cop comes off as uni-dimensional in comparison, spoiling the charm at times. The pace of the screenplay also throws a spanner in the works more often than not by its uneven pace. It meanders in between, stretches a few jokes unnecessarily and worse, commits the crime of ‘telling’ and not ‘showing’. The film is about two common men finding their heroism. The film takes the easy way out by not defining this find by a parallely exciting resolution for the case, leaving it to verbal devices to fill in the gaps.

If one is willing to forgive this slight let-down then the popcorn and coke is sure to taste better with this light-hearted flick.


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