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The Heat | |||
dir Paul Feig scr Katie Dippold prd Peter Chernin, Jenno Topping with Sandra Bullock, Melissa McCarthy, Demian Bichir, Marlon Wayans, Tom Wilson, Michael Rapaport, Jane Curtin, Michael McDonald, Dan Bakkedahl, Taran Killam, Spoken Reasons, Tony Hale release US 28.Jun.13, UK 31.Jul.13 13/US Fox 1h57 Unorthodox methods: McCarthy and Bullock |
R E V I E W B Y R I C H C L I N E | ||
Bullock and McCarthy make a terrific team in this buddy comedy about two mismatched officers struggling to work together. Aside from the standard sentimentality at the end, there isn't much beneath the surface. But it's genuinely amusing, and sometimes hysterically funny.
Ashburn (Bullock) is such a fiercely efficient FBI agent that her upcoming promotion is in danger. As her boss (Bichir) tells her, "No one likes you." He sends her on assignment to Boston to find a big drug dealer, but she runs headlong into unorthodox local detective Mullins (McCarthy), who's such a wildcard that her boss (Wilson) doesn't bother to supervise her. Of course, Ashburn and Mullins clash loudly as they try to work together, finding nothing in common other than the need to be in control. Like most buddy comedies, the plot feels like an afterthought, never developed beyond a flimsy framework on which to hang a variety of set-pieces. But the fact that these buddies are two over-40 women adds a spark, boosted by Bullock's fearless physicality and deadpan delivery, plus McCarthy's blinding improvisational skills. Seemingly polar opposites, they make a terrific team and are much funnier when they're at each others' throats than when they're working together in the final act, although even here they gleefully play on their differences. Clearly, the filmmakers knew they had a great double-act on their hands, because everyone else fades into the background. Bichir and Wayans have the thankless roles actresses usually have in these kinds of films. Wilson has a couple of terrific moments as a frazzled police chief, but comedy icon Curtin is wasted, merely scowling from the sidelines as Mullins' angry mother. Although the scenes with Mullins' family are riotously silly. Feig assembles the film with a blockbuster sensibility. This isn't a girly comedy, it's a big action romp with some seriously nastiness along the way. And only some of the violence is played for inappropriate laughter, like a grisly tracheotomy or dropping a suspect (Reasons) from a rooftop. But this means that, aside from the gender reversal, there isn't anything particularly original here. It's as irresponsible in its comical depiction of brutal, illegal policing as, say, Beverly Hills Cop, Lethal Weapon, The Other Guys or 21 Jump Street. And just as funny.
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