BULLSEYE OR MISFIRE: 22 Jump Street Reviews
By Dr. Know on June 12th, 2014
Enjoyably light on its feet, even when it’s self-consciously treading old ground.
It works well enough, more often than not, though heightened levels of raunch and chaos seem not so much meta as frantic.
It’s the sequel to end all sequels. The only problem: It’s so irresistibly funny it’ll probably spawn a trilogy.
The movie is crammed with jokes about how bad sequels are. And guess what? Exactly.
An exploding piñata of gags, pratfalls, winking asides, throwaway one-liners and self-reflexive waggery.
Hill may still be the experienced rib tickler, but Tatum may soon take his crown and together they make 22 Jump Street a real treat.
22 Jump Street might not be as consistently funny as its predecessor, but it is twice as clever.
Not what you would call fully formed, but it’s still fun. Channing Tatum keeps getting better and better.
Remember that feeling when you realized The Hangover II was A sequel that has as many laughs as a Texas spring has tornadoes.
Lord and Miller continue to mine a similar vein of absurdist gags, boosting the laughs-per-minute ratio of its predecessor.
It doesn’t have the pleasant surprise factor of the first film, but it’s actually even better.
Channing Tatum again proves to be the funniest person on-screen, nailing the sweetly dumb act (“I’m the first person in my family to pretend to go to college.”).
22 Jump Street may be the most arbitrary sequel since Bad Boys II. If it’s not the worst, that’s strictly because of Channing Tatum.
The creative team behind this, including the two leads, end up giving far more than the minimum they could have gotten away with — which results in an unusually fun and funny film.
22 Jump Street could be the greenest comedy sequel of the new century so far, a movie that takes recycling crime caper clichés to absurdist extremes.
The movie always operates on two wavelengths – one a dumb movie sequel full of dumb movie clichés and the other a movie mocking those very clichés.
Since this genre has more than exhausted itself over three and a half decades, writers Michael Bacall, Oren Uziel and Rodney Rothman are smart to hold a mirror up to the buddy cop genre, generating the comedy through self-awareness and self-deprecation.