the long kiss goodnight
So we were discussing in class who was the “most manly” out of all the main characters in the movies we had watched so far. I think that honestly, Geena Davis could kick all their asses to pieces if she so desired.
The film had pretty much every single expectation in it. Gun fight, car chase, explosions, humor, death, etc. It fit our expectations to a “t” of what a buddy cop film should be.
Honestly though, I’m disappointed in Samuel L. Jackson though. Yea, he tried being this huge badass through out the entire movie, and yet Geena Davis was more than twice the badass he was. He was a very generic Samuel L. character though. Yelled a lot, shot some people, same Samuel L, different movie.
I agree with whoever blogged about the fact that there weren’t a lot of flashbacks even though movie focused so much on the past. It made the film better and a lot more fun to follow. Not only that, but the fact that the humor wasn’t too excessive or too minimal either. The humor isn’t on the same level as Beverly Hills Cop, but I’d say this movie was almost, if not just as funny as Beverly Hills Cop.
I was surprised by the extreme transformation of Geena Davis’ character. Going from frumpy school teacher to sexy female badass whose going to kick your ass before you get a chance to kick her ass, was this huge transformation of character. In other films I’ve seen, this transformation of character does not go as smoothly or come out so cool.
The only problem I had with this film was the fact that it doesn’t quite seem to fit as a cop film. It does according to King, but really, to me, it just really isn’t a cop film. Yea, ok, Samuel L is a detective and Geena Davis is an ex FBI agent, but still, its pushing the genre a little too far.
posted by MegSchutz at 10:36 PM
2 Comments:
I completely agree with you, this film does not in anyway seem like a typical cop movie in the sense that there are no cops. However, I believe that the relationship between the characters is strong enough to constitute it as a buddy film. Mitch certainly cares about Charlie’s well being enough to stay by her side but in a sense he is also very much the sidekick to her bad-ass hero. If not for these two deep personal relationships, the fact that they knew each other previous to the action of the film, make their buddy relationship fit into the buddy film cop genre.
I agree with you about this not really being a cop movie, much less a buddy cop flick. We do have two characters that are semi-buddies (nevermind the fact that one character becomes another one midway through), but neither is really a cop. This film, fits all the listed criteria for a buddy cop film but, like we discussed with Se7en and Training Day, but strays even further than those films from the overall tone and experience we have come to expect from this genre. It’s not a movie about two cops fighting the good fight (or not) or struggling to take down a villain. Instead, it’s a fantastical romp through an almost comic-book world of coincidences and stereotypes.
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