It's not easy to break into the male-dominated genre of buddy cop movies. Sorry ladies, that realm is under the strict supervision of Murtaugh and Riggs, and every other film that has tried to emulate the
Lethal Weapon formula has brought more testosterone than estrogen. But if there are two women who can break the mold it's Sandra Bullock and Melissa McCarthy in
The Heat, a frequently raucous retro cop comedy that overstays its welcome but makes the most of its two stars.
Neither Bullock nor McCarthy is stretching themselves here, but do we really want them to? Cop comedies are well-worn territory for Bullock after two hugely successful
Miss Congeniality films, and as FBI Special Agent Sarah Ashburn she plays another socially inept officer fighting for respect from her male peers. McCarthy, reteaming with
Bridesmaids director Paul Feig, is tough-as-nails, borderline psychotic Boston cop Shannon Mullins. Ashburn is uptight and pretentious; Mullins is gruff and wildly erratic. Of course they'd make perfect partners!
The mismatched pair are forced together to stop a random drug lord, but seriously the case they're working makes no difference. This is little more than an excuse for McCarthy and Bullock to show off their comedic skills, and together they have an irresistible madcap energy. McCarthy, who has a knack for lovable lunatic roles like no other, beats down perps left and right, points guns at men's crotches, and bullies her poor police chief (Biff from the
Back to the Future flicks) until he's old and grey. Her crass, downright vulgar antics are a perfect foil for the quietly loopy Bullock, who when called upon in a rip-roaring bar scene, proves she's every bit the physical comedian as McCarthy. The chemistry between the two is impeccable and it's obvious they were having way too good of a time.
The punchy and vulgar script by
Parks & Recreation vet Katie Dippold throws one joke after the next without taking much of a breath, with far more hits than misses. There are no surprises to be found here, though.
The Heat wears its genre trappings on its sleeve. There are no big action sequences, no criminal mastermind worth caring about, and even a potential love interest (Marlon Wayans) for Ashburn doesn't amount to much. The film begins to overstay its welcome as it strains to give the cops a crime to actually fight, and we're introduced to other characters that are more irritating than interesting. Primarily, a subplot involving Mullins' unruly family screams of time filler, although it does give us the chance to see the great Jane Curtain in action again. Always a pleasure.
Feig is smart enough to give his two actresses room to maneuver and riff off one another, and only occasionally does he let it go on a tad too long. It's doubtful he'll be taking McCarthy to another Oscar nomination, but at least he's given her a funnier, less insulting role than she had in
Identity Thief. There's every chance we'll be seeing more of
The Heat, because every buddy cop film gets a sequel, right? Multiple sequels, usually. So don't be surprised to see
The Heat With A Vengeance coming to a theater near you, because Bullock and McCarthy have proven they can more than stand up to the big boys.
Neither Bullock nor McCarthy is stretching themselves here, but do we really want them to? Cop comedies are well-worn territory for Bullock after two hugely successful Miss Congeniality films, and as FBI Special Agent Sarah Ashburn she plays another socially inept officer fighting for respect from her male peers. McCarthy, reteaming with Bridesmaids director Paul Feig, is tough-as-nails, borderline psychotic Boston cop Shannon Mullins. Ashburn is uptight and pretentious; Mullins is gruff and wildly erratic. Of course they'd make perfect partners!
The mismatched pair are forced together to stop a random drug lord, but seriously the case they're working makes no difference. This is little more than an excuse for McCarthy and Bullock to show off their comedic skills, and together they have an irresistible madcap energy. McCarthy, who has a knack for lovable lunatic roles like no other, beats down perps left and right, points guns at men's crotches, and bullies her poor police chief (Biff from the Back to the Future flicks) until he's old and grey. Her crass, downright vulgar antics are a perfect foil for the quietly loopy Bullock, who when called upon in a rip-roaring bar scene, proves she's every bit the physical comedian as McCarthy. The chemistry between the two is impeccable and it's obvious they were having way too good of a time.
The punchy and vulgar script by Parks & Recreation vet Katie Dippold throws one joke after the next without taking much of a breath, with far more hits than misses. There are no surprises to be found here, though. The Heat wears its genre trappings on its sleeve. There are no big action sequences, no criminal mastermind worth caring about, and even a potential love interest (Marlon Wayans) for Ashburn doesn't amount to much. The film begins to overstay its welcome as it strains to give the cops a crime to actually fight, and we're introduced to other characters that are more irritating than interesting. Primarily, a subplot involving Mullins' unruly family screams of time filler, although it does give us the chance to see the great Jane Curtain in action again. Always a pleasure.
Feig is smart enough to give his two actresses room to maneuver and riff off one another, and only occasionally does he let it go on a tad too long. It's doubtful he'll be taking McCarthy to another Oscar nomination, but at least he's given her a funnier, less insulting role than she had in Identity Thief. There's every chance we'll be seeing more of The Heat, because every buddy cop film gets a sequel, right? Multiple sequels, usually. So don't be surprised to see The Heat With A Vengeance coming to a theater near you, because Bullock and McCarthy have proven they can more than stand up to the big boys.
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