GOOD COP. MAD COP.
While trying to capture an elusive drug lord, FBI Special Agent Sarah Ashburn (Sandra Bullock) is ordered to cooperate with a Boston cop (Melissa McCarthy) who is her opposite in every way. The director of Bridesmaids (2011) reunited with McCarthy for another foul-mouthed (but even funnier) comedy, a classic buddy cop formula with a refreshing feminist bent. Teaming up with Bullock is a great idea; she and McCarthy are hilarious as the stuck-up agent and the intimidating, completely unrestrained local cop. The story may be thin, and Paul Feig refuses to kill his darlings, but the movie accomplishes something rare in this genre – maintains its pace throughout.
2013-U.S. 117 min. Color. Widescreen. Produced by Peter Chernin, Jenno Topping. Directed by Paul Feig. Screenplay: Katie Dippold. Cast: Sandra Bullock (Sarah Ashburn), Melissa McCarthy (Shannon Mullins), Demián Bichir (Hale), Marlon Wayans, Michael Rapaport, Jane Curtin.
Trivia: There’s a scene in a bar where McCarthy makes out with a former one-night stand; that’s her real-life husband Ben Falcone.
Quote: “God, buddy, do you not hear how pathetic everything out of your mouth sounds? I mean, there’s a girl out there for you, but it’s not… it’s not me. Maybe it’s her [pointing at Sandra Bullock] Her lady business is like an old dirty attic. Full of broken Christmas lights and like doll shoes and shit. Why don’t you clean THAT out for her?” (McCarthy, to a former one-night stand)
Last word: “It’s really fun, now I’ve done two films with [McCarthy], to let her take a character that’s already funny on the page and let her run with it. I always let her set the look of the character. We usually do a lot of early, early rehearsals, read-throughs, just to let them improv and hear where they’re going with it. Let them build it organically, so by the time it hits the screen it’s something that is so fleshed out and real to her that she’s just able to slip into it and just be that character. So it was really fun, in ‘Bridesmaids’ and this, to watch those characters evolve from the outside in.” (Feig, Crave)