Sarah Ashburn, an FBI agent, is extremely ambitious and has her eye on a promotion, but she doesn't get along with her co-workers. She is sent to Boston to uncover the identity of an elusive drug lord, Mr. Larkin, by tracking down his proxy, Rojas, and is told that she'll have a good shot at the promotion if she finds Larkin. When she arrives in Boston, she learns that Larkin has been eliminating his competition and taking over their operations. She learns that Rojas is in Boston PD custody and goes to see him to ask him what he knows about Larkin, but is warned that the cop who arrested Rojas, Shannon Mullins, is very territorial, and she is not exactly sociable. When the two meet they don't get along. When Mullins learns why Ashburn is in Boston, she decides to find Larkin herself. Ashburn is told by her boss to work with Mullins, but it won't be easy because Ashburn does things by the book while Mullins does things her way. Written by
(at around 58 mins) When Mullins takes Ashburn to her parents house. The family is arguing at the table and her brother enters the front door carrying a bag of shopping. The bag starts off with nothing in the top, then bread appears, then it disappears again. See more »
I'm gonna say this one more time. Stand down, Officer.
Fuck off, Officer.
Oh, okay. Guess what? Now you've really done it. I'm going to call my boss.
You do that, tattle-tits! Fuckin' narc!
See more »
According to the end credits, Gina's Boobs are played by Jessica Chaffin's Boobs. See more »
The buddy cop movie has become a tiresome and overworked genre--though don't look for the genre to peter out anytime soon, as Hollywood is indefatigable when it comes to dead horse-beating. That having been said, "The Heat" is one of the best buddy cop movies I've seen in a long time.
In many ways, "The Heat" reminds me of one the earliest and best examples of the form, the Nick Nolte/Eddie Murphy hit "48 Hrs", because so much of its success is due to the manic, wildly profane non-stop comic patter of a character seasoned by the streets--in this case, not Eddie Murphy, but the enormously talented Melissa McCarthy. This is a very funny script with many toss off moments of dialogue-driven humor and some of the best rhythmically joyful, surrealistically inventive uses of obscenity I've encountered in recent years. The physical comedy that exists is nicely choreographed and unforced. And there's a lot of respect shown for, and screen time given to, many comic side characters in the movie. In general, one gets the feeling that all talent involved in the movie had fun making it and like each other.
The bonus is that you see two very talented women working in a traditionally male genre, which brings freshness to the form while not being overly self-conscious in that "Hey! It's a buddy cop movie! But, you know--with women!!" sort of way. Gender is hardly the reason for the movie's success. It's just funny and the acting is good. It's a successful buddy cop movie on the terms set for the genre.
An earlier reviewer who disliked the movie absurdly called it "misandric" (man-hating) and another complained about the vulgarity. My sense is that these reviewers simply have a problem with seeing women do what men are forever allowed to do unquestioningly in movies. This is their problem--not the movie's.
And finally--I've never watched the "Mike & Molly" TV sitcom and only know Melissa McCarthy through her movies. She's a brilliant comic actor. (And yes, as is noted in the movie, she does look like one of the Campbell Soup kids.)
3 of 4 people found this review helpful.
Was this review helpful to you?