Type копы

Ryan (Jack Johnson) and Justin (Damon Ueyans-ml.) – the best friends who have arrived many years ago to Los Angeles in a pursuit of a bird of good luck. But now to them already on thirty, and they so also did not achieve anything – the designer of video games Justin still dreams to sell the first creation, and Ryan in general the unemployed. Once to them the police form in which friends go on a fancy-dress party gets to hands, and after its termination it becomes clear that the form gives them what they do not receive in the usual life, – respect and the power. After that evenings friends begin to enjoy and gradually "play", getting into dismantlings with the cranky mafioso (James D’Arcy).

Type копы

During a session «Type копов» contrary to desire the warm wave of nostalgia on post-Perestroika video boom – to three-hour videotapes on which the second films such here unpretentious comedy fighters often wrote down covers. For example, «Money, money, still money», one of leading roles in which was executed by Marlon Ueyans, «Dirty villain Sheym» with Keenan Ayvori Ueyansom or "Bulletproof" with Adam Sandler and one more Ueyansom, Damon. Since then much water has flowed under the bridges, but is pleasant to see that any things do not change – «Type копы» look so as if were removed at the beginning of the 90th, and even Damon Ueyans on a place, however, the already younger.

Type копы

Oldskulny shablonnost «Type копов» – their main trouble and the main advantage. The film is predictable from the first to the last shot, all its subject turns are looked through at a stage of reading a synopsis, no less than simple morals: look in the face to difficulties, do not turn away from the evil and injustice, never give up, be responsible for the acts and cross the street only on green light. And yes, protagonists surely should be with different skin color, differently it will turn out nothing.

Type копы

Sounds sadly? There is a such. But «Type копы» are not settled by a naked plot – as well as the best comedy fighters of a boundary of the 80-90th, they are penetrated by any bribing spontaneity. The scenario such not because «and so will descend» but because authors sincerely believe in what and similar films – easy, plain, recognizable should be such, with distinct morals and huge space for improvisation. Actors use the last with great and visible pleasure – the leading duet turned out bright and organic, and James D’Arcy frankly "comes off" in image freezed бандюгана. Even the most crumpled and secondary scenes thanks to having actors turn out quite digestible.

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