Before I stepped into the theater, it was impossible to avoid the accolades this film had been getting; some calling it the funniest movie of the year, so far. So, suffice to say, my expectations were high.
Allow me to cut to the chase (something I'd wished "Spy" would've done"). For the first 45 minutes I didn't laugh at all. And it wasn't until the arrival of Rose Byrne (ONE HOUR INTO THE MOVIE!) that I felt "Spy" hit any kind of consistent comedic stride. And even then, when later sequences would lack the McCarthy v. Byrne argumentative visual, this Paul Feig comedy left much to be desired.
Synopsis: Bradley Fine (Jude Law) is a charismatic CIA field agent and Susan (Melissa McCarthy) is in the friend zone and also, technically a CIA agent, although relegated to the office. But when all of the field agent's names become public knowledge, Susan gets a chance to save the day by becoming an actual field agent. And then "comedy" ensues. "Spy" is a James Bond satire. From the spot on opening credits to the extremely well choreographed fight sequences, Feig has done his homework here, leaving no doubt that he could direct a 007 film if ever called upon. But those who proclaim this to be a comedic gem the caliber of an "Austin Powers: International man of Mystery", are very much fooling themselves.
Problems arise rather quickly as the initial myriad of running gags fall flat; first and foremost, a reoccurring vermin infestation joke which didn't work the first or 50th time. After that, this movie's downfall can be more evenly distributed between an actress named Miranda Hart, who plays the annoying best friend/sidekick, and writer/director Paul Feig's comedic joke telling abilities; or lack thereof.
Even though McCarthy has transformed into the female equivalent of Will Farrell (with her character remaining the same from film to film) she is not the problem here. The main problem seems to stem from a combination of bad joke writing and leaving her as the main focal point on screen for too long. Here's the thing: Just like Farrell, McCarthy works best as a sidekick or at the very least, paired in a duo. And thus, when Byrne comes on screen, she becomes that lifesaver which rescues this film from drowning a very quiet death. But if Feig already knew (having worked with McCarthy on "The Heat" AND "Bridesmaids") what we (the audience) already knew, why does it take so long for her to get any help? Why must we watch McCarthy flounder about in open water for a cringe-worthy amount of time?
Final Thought: I may get some flak from people who claim I am some kind of Paul Feig hater, as this is his third film in a row which has received a lukewarm response from this reviewer. And though I do believe there is an audience for Feig's repetitive (watered down Judd Apatow) form of slapstick; it is now my belief that this filmmaker uses the women empowerment/strong female lead angle as a crutch to mask the fact that his movies are simply not that funny; in the same way Tyler Perry uses minorities as his leads and heavy Christian themes, in an attempt to mask the fact that his stories are exploitative trash. That said, "Spy" still contains comedic pockets which rise above the norm. It's just a shame that "Spy" is a perfect example of "too little, too late."
Allow me to cut to the chase (something I'd wished "Spy" would've done"). For the first 45 minutes I didn't laugh at all. And it wasn't until the arrival of Rose Byrne (ONE HOUR INTO THE MOVIE!) that I felt "Spy" hit any kind of consistent comedic stride. And even then, when later sequences would lack the McCarthy v. Byrne argumentative visual, this Paul Feig comedy left much to be desired.
Synopsis: Bradley Fine (Jude Law) is a charismatic CIA field agent and Susan (Melissa McCarthy) is in the friend zone and also, technically a CIA agent, although relegated to the office. But when all of the field agent's names become public knowledge, Susan gets a chance to save the day by becoming an actual field agent. And then "comedy" ensues. "Spy" is a James Bond satire. From the spot on opening credits to the extremely well choreographed fight sequences, Feig has done his homework here, leaving no doubt that he could direct a 007 film if ever called upon. But those who proclaim this to be a comedic gem the caliber of an "Austin Powers: International man of Mystery", are very much fooling themselves.
Problems arise rather quickly as the initial myriad of running gags fall flat; first and foremost, a reoccurring vermin infestation joke which didn't work the first or 50th time. After that, this movie's downfall can be more evenly distributed between an actress named Miranda Hart, who plays the annoying best friend/sidekick, and writer/director Paul Feig's comedic joke telling abilities; or lack thereof.
Even though McCarthy has transformed into the female equivalent of Will Farrell (with her character remaining the same from film to film) she is not the problem here. The main problem seems to stem from a combination of bad joke writing and leaving her as the main focal point on screen for too long. Here's the thing: Just like Farrell, McCarthy works best as a sidekick or at the very least, paired in a duo. And thus, when Byrne comes on screen, she becomes that lifesaver which rescues this film from drowning a very quiet death. But if Feig already knew (having worked with McCarthy on "The Heat" AND "Bridesmaids") what we (the audience) already knew, why does it take so long for her to get any help? Why must we watch McCarthy flounder about in open water for a cringe-worthy amount of time?
Final Thought: I may get some flak from people who claim I am some kind of Paul Feig hater, as this is his third film in a row which has received a lukewarm response from this reviewer. And though I do believe there is an audience for Feig's repetitive (watered down Judd Apatow) form of slapstick; it is now my belief that this filmmaker uses the women empowerment/strong female lead angle as a crutch to mask the fact that his movies are simply not that funny; in the same way Tyler Perry uses minorities as his leads and heavy Christian themes, in an attempt to mask the fact that his stories are exploitative trash. That said, "Spy" still contains comedic pockets which rise above the norm. It's just a shame that "Spy" is a perfect example of "too little, too late."