There is a significant number of people, potential viewers, which looking at the film with a beaten plot immediately seek to brand it as a kind of purely negative result. Tomato juice was invented long before the beginning of the conscious life of any of us, but nothing prevents the producers from deriving its new consistencies. To what this sensible impulse tends to guess uncomplicated, "21 Jump Street" is a fresh, updated look at the established concepts. Phil Lord, Chris Miller - guys with very big eggs in a duel for the title of the kings of modern comedy.
We have before us an example of a narrative mechanism imprisoned to perfection. Dynamic development, genuine concentration on transitions, quality of performance, emotional diversity and convincing involvement of images in the storyline. When a certain subgenre becomes obsolete over a long period, and after long post-analytical terms forms its ideal model in individual heads, someone takes up its embodiment. Lord and Miller, based on Hollywood's many years of filmmaking experience, took and shot a perfect sample of the story of two unlucky guys, full of opposites, with everyday social problems that turn out to be friends in one harness. The mainstream is at its best.
Tatum issues a performance of a level that his last five works combined do not. Hill returns to the popular in the past image of the "Superbad". The first and second reach an incredible level of interpersonal relationships, when heroes not only discuss chemistry, but also show it.
Comedy is a complex genre. Among the masses of directorial merits of special mention, Lord and Miller are worthy for understanding the essence and value of each individual episode. Exquisite and sophisticated opportunities are used with great calculation for the rendering of this or that effect. There is nothing surprising in that the Western press and critics have fallen in love with the film - every second of the story time, it remembers that a real comedy does not happen without a real drama.