School years wonderful ended for two obolduev-greenhorns and part-time undercover cops Schmidt and jenko quite successfully and therefore next phase of their lives and careers in the offing. Guys have grown out of adolescence, pants, adept and portvale and community College, which becomes the new detective activities under the cover, already waiting for them with open arms.
In contemporary cinema, has long spoiled in the postmodern dislocations and rotten samopovtorov, there is virtually no such thing as reseblance, rescissory, update, in the end. Small number of subjects, of whom there are just over ten, izlesene to impossible and split into small pieces. Excessive artistic evidence and stylistic vapidity ruin all genres, and at this stage of the evolution of the cinematic spectator is something that has almost no interesting mastromonaco movie with an abundance of openly beavises products, and the only irony can save one or another ambitious project. In the case of the film “Macho and nerdy” in 2012, which had a very indirect relationship to the TV series “21 Jump Street” straight from the raving 80s with the then young johnny Depp, absolutely unusual the final result, rolled away on the second or third plan the original series, is a symbiotic mix of teen drama and police detective without a hint of humor, but with a big share of romance and rebellion, and nominated this picture almost in the category of contemporary Comedy cult.
Built into the concept of modern comedies with their utter banality and stiffness on the verge of aberrantly, tape Directors Phil Lord and Christopher Miller, however, was full of self-irony of the author’s flirtation with the ease of a youth comedies and classic vosmidesyatnikov buddy movie “48 hours” to “Bad guys”, narrowing, however, the conflict between the opposites protagonistics plan to the level of catchy grotesque), while being authentic and vivid and showing a rare example of the aforementioned cassablancas, derision and destruction/humiliation genre stereotypes and archetypes. The sequel, released exactly two years later, the original in its total madness and polushizofrenicheskom of otvyaznosti hardly loses, even surpassing it. A change of scene from school, which was very little for young addicts and concerned in all areas of their own bodies of teenagers at College, where they were waiting for a lot of surprises in the cosy backstreets of campuses does not mean the final maturity, and even it does not imply, given the nature of the tape, however on the background of the first picture of “Macho and nerdy 2” to be much more balanced and, importantly, even points wise.
With the same creative energy and does not require any coherent understanding enthusiasm Phil Lord and Christopher Miller continue to subtly flirt with the audience, offering a fascinating puzzle from the mass of familiar, iconic and famous paintings, turning the familiar to a much more trivial ribbon layering of the plates to ride hard good banter and irony, and bringing typical to the teeth gnashing story about the boys from the College to the level of the grotesque, through which such tape is not a stone. Of course, a certain redundancy is the sequel suffers considerably because, fascinated by the sophisticated gags and brutal action, where logic and common sense is defeated by the daring and trivial saaristotie morals about friendship as an eternal constant in the world subjected not only to the laws of mathematics and physics, the filmmakers sometimes forget about the intelligibility of the plot and the logic of the primary narrative. Gags is too much, and not everything is possible to digest without infernal loud burping and heartburn, but closer to the finale, quite traditional, narrative re-aligned, there is a sense of proportion and adequacy, although secondary as such and no one thought to cancel because “Macho and nerdy 2” suffered the same problem as most other sequels: the inability to say something new, without falling into a repetition of already said, done, written, filmed. However, secondary-level conflicts, which in plot-construction, compensated for as successfully as a universal irony and improvisation, and deft annihilation patterns, for this time the guns that guns that dealers were much more, and the sight is more precise.