“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
By Noah Forrest Forrest@moviecitynews.com
“Did that go the way you thought it was gonna go? Nope.”
The Other Guys is way better than I thought it would be. It’s not that I haven’t admired and enjoyed the films that Will Ferrell and Adam McKay have made together, it’s that I have lost my faith in Ferrell as a consistent comedic presence. For every Step Brothers (one of the more underrated comedies in recent years), there’s a handful of films like Land of the Lost, Semi-Pro, and Blades of Glory. And as much as I enjoy the show Eastbound & Down, I didn’t find Ferrell’s slimy car salesman particularly funny or original. Basically, I was starting to tire of the standard Will Ferrell shtick.
So color me surprised that The Other Guys turned out to be a fairly interesting send-up of cop flicks. Ferrell is at his best here because he’s not as loud; he’s often been at his funniest when he’s subtle and quiet. Here, it’s Mark Wahlberg that plays the more temperamental role and it’s much funnier to see Wahlberg lose it. Of course, because Ferrell is reserved for much of the film, when he does blow up, it’s delightful.
A rehashing of the plot is completely unnecessary because it’s all just a vehicle for Ferrell and Wahlberg to play off each other and they have great chemistry that nearly rivals what Ferrell shares with John C. Reilly or Paul Rudd. I thought this film succeeded where Edgar Wright’s Hot Fuzz failed because Adam McKay doesn’t seem to have the same reverence for action films that Wright clearly did. So, rather than lovingly mocking the outlandishness of these types of films as Wright did, this is a film that knows the plot should come secondary.
The one part of the film that really threw me off, however, was the end credit animated sequence that explains what a Ponzi scheme is and how it works. It goes to some pretty heavy places, which is not how I wanted to leave a film that I just had a good time with. It seems pretentious and heavy-handed, which is not what I expect to find when I sign up for a Will Ferrell comedy.
However, I fully enjoyed my time with The Other Guys. It’s not high art and it’s not the funniest film ever, but it’s a good time and should offer everyone at least a few chuckles.