The Other Guys Subtitles English !!TOP!!

"When the cops are busy... Our only hope is...".NYPD detectives Christopher Danson (Johnson) and P.K. Highsmith (Jackson) are the baddest and most beloved cops in New York City. They don't get tattoos, other men get tattoos of them. Two desks over and one back, sit detectives Allen Gamble (Ferrell) and Terry Hoitz (Wahlberg). You've seen them in the background of photos of Danson and Highsmith, out of focus and eyes closed. They're not heroes, they're "the other guys." But every cop has his or her day and soon Gamble and Hoitz stumble into a seemingly innocuous case no other detective wants to touch that could turn into NYC's biggest crime. It's the opportunity of their lives, but do these guys have the right stuff?

The Other Guys subtitles English

Fans of the Summer Olympics and the World Cup have to wait four years for them, but there is another less storied summertime tradition occurring twice as often. It's the Will Ferrell-Adam McKay feature film. The two men joined "Saturday Night Live" in the series' fall 1995 makeover, Ferrell as performer and McKay as writer. After several seasons there, both looked to move onto bigger and better things, and though said things elude most "SNL" alumni, these two have achieved them. McKay had an uncredited hand in Ferrell's blockbuster 2003 vehicle, Elf, but their first official collaboration came the following summer in Anchorman, possibly the most quoted comedy of its decade.Following that film's success, writer/director McKay and writer/star Ferrell cemented their partnership with 2006's Talladega Nights, 2008's Step Brothers, the enormously popular website Funny or Die, and the company Gary Sanchez Productions to secure release for small comedies that otherwise might have perished (The Foot Fist Way, The Goods: Live Hard, Sell Hard). This past summer's entry to the biennial canon was The Other Guys. McKay wrote the script not with Ferrell but TV veteran Chris Henchy and, for once, Judd Apatow was not involved as producer. Otherwise, this looked like another signature Ferrell-McKay joint, down to a mid-summer opening resembling those that Sony's Columbia Pictures gave the two previous ones.While the Ferrell-McKay movies have generally been enjoyable, profitable, and reasonably close in their senses of humor, the stories and settings have all been quite different and The Other Guys adds to that tradition. It is a buddy cop action-comedy set in New York City. The precinct has its heroes in Christopher Danson (Dwayne Johnson) and P.K. Highsmith (Samuel L. Jackson) who take daring measures to thwart criminals, reveling in the glory while the other guys take care of the paperwork. Among such guys are neighboring desk jockeys Allen Gamble (Ferrell) and Terry Hoitz (Mark Wahlberg). Gamble appreciates the stability of his accounting job, getting excited about catching scaffolding violations. Hoitz, on the other hand, hungers for action, having been sidelined after an unfortunate incident he can't live down in which he shot Yankees slugger Derek Jeter on the eve of the World Series' deciding game.Obviously, an opportunity arises for Gamble and Hoitz to get away from their desks and into some action, with Hoitz having to drag his partner to come along for the ride. While the call they are responding to gets handled by a cocky pair (Rob Riggle and Daymon Wayans, Jr.) aspiring to be the next Danson and Highsmith, Gamble and Hoitz do manage to arrest an individual with some of those important scaffolding violations, before having the suspect, Gamble's Prius, and their shoes taken from them. Something doesn't quite add up about the case and the mismatched duo starts thinking there is more to that suspect, big-time British investment banker David Ershon (Steve Coogan), that requires investigation. Getting heat from above, the Captain (Michael Keaton) disapproves and reassigns the guys to smaller, more manageable cases. But their brushes with action, danger, and meaningful detective work are too exciting to let go of.Even if I wasn't trying to see practically all major American films being made today, I would definitely check out Ferrell's every movie. Beginning with Elf, I've seen nine of his films in theaters, which is impressive because I'm not one of those people who go to movies all that frequently. Though the three previous McKay-directed comedies counted among my theater trips and I was interested enough in this latest collaboration to read up on and Google it months in advance, I ended up not buying a ticket. This wasn't my response to Land of the Lost, mind you (I quite enjoyed that one and am still puzzled that more people didn't), but to a trailer that looked only moderately promising.It turns out The Other Guys did not have one of those trailers consisting of all the movie's highlights. This is a very funny and enjoyable movie in a year that has been far from full of them. Not only does it top what I figured was the last summer comedy worth seeing (Dinner for Schmucks), but it compares to several of Ferrell's stronger movies, including McKay's racy but riotous Step Brothers. It may not be top tier Ferrell, but it's not far from that.Yet again, Ferrell has created an interesting new persona. He doesn't get nearly enough credit for doing that. I can't think of one other major dramatic or comedic movie star who comes up with distinctive characters so frequently. Milquetoast Allen Gamble even avoids the excess confidence that many of Ferrell's heroes share. He's just kind of an ordinary, gullible, conservative working guy with a secret past. In the ever-growing pantheon of Ferrell personalities, I would say Allen most reminded me of his Stanger Than Fiction IRS agent and two of his more obscure recurring SNL creations: shed-protecting barbecuing dad Frank Henderson and the voice-immodulated Jacob Silj (kudos if those ring any bells). Playing things completely straight makes everything that comes out of the bespectacled stiff's mouth more amusing.Across from him, it doesn't take much for Mark Wahlberg to seem like he's from a completely different world. The reserved, aggressive Hoitz is a nice complement to Gamble and the dynamic just works in less than obvious ways. Not every aspect of Wahlberg's irritable character hits the mark, but enough does to really enjoy every moment these two cops share, which is the vast majority of the runtime. This central pairing gets excellent support in all directions from an exemplary supporting cast seizing its opportunities. Sam Jackson and Dwayne Johnson come on like gangbusters, setting a model of heroism for Ferrell and Wahlberg to fall so short of. They seem to warrant something more, like a prequel short or a spin-off Funny or Die piece. Coogan makes his sketchy Ponzi schemer memorable as only he can. Riggle is reliable in his now customary antagonism. Keaton, whose captain is moonlighting at Bed, Bath & Beyond and supposedly oblivious that his directions resemble refrains of a certain bygone pop trio, is an hilarious presence, bringing as much to this as his Ken brought to Toy Story 3. The one unmemorable link may be Eva Mendes as Ferrell's unlikely and unappreciated wife. She's not bad, she just doesn't do much beyond being the pretty punchline; perhaps the film's biggest misfire is a drawn-out sequence that exists to set up a mostly unseen sex scene (as if McKay and Ferrell just thought that would be a fun thing to do with Mendes, and left a touch of it in to avoid suspicion).Adding to the movie's charms is the fact that it takes its plot seriously. It doesn't use the storyline merely to deliver jokes. In fact, it may even devote more attention to the financial corruption than is needed. Clearly, this is a subject of interest to the creators, who spice up the end credits scroll with animated graphics and statistics about the recent boom of white-collar greed and misdeeds. Such passion heightens the action bits and without dividing audiences or polemicizing. If anything, viewers should be more bothered by the cited figures than the wealthy entertainers sharing them.Critics liked The Other Guys and moviegoers did too. It may not have soared as high domestically as McKay and Ferrell's last PG-13 pairing (Talladega Nights' $148 M). And with a $100 million budget and soft overseas performance, it wasn't exactly a huge payday. But with $119 M stateside and $169 M worldwide, it will generate some profits. More importantly, it reasserts Ferrell's box office appeal, which has alternated between hit and miss for years now. Like the three previous Ferrell-McKay works, this one has come to DVD in rated and unrated cuts. Fortunately, you don't have to choose, because as on Step Brothers and two of this season's other high-profile releases, Sony has supplied multiple cuts on one disc through the magic of seamless branching. Oddly, in addition to this two-cut version, dubbed The Unrated Other Edition, you can also get The Other Guys in a Theatrical Edition holding just one cut for the same price. Since I'm pretty sure Wal-Mart didn't boycott Eat Pray Love (whose every DVD and Blu-ray included an unrated cut), I don't know why there is the need for such a disc, beyond tricking well-intentioned parents into getting the lighter disc for their kids instead of a potentially racy unrated version.Running nearly nine minutes longer than the theatrical cut (1:47:21), the unrated cut (1:56:06) does not significantly up the raciness. Today, MPAA ratings are never an afterthought on a $100 million movie. Aiming for a PG-13 was probably established right after the premise. There are a couple of significant reinserted scenes. An over 2-minute one finds Hoitz at an art show attended by his girlfriend (Lindsay Sloane) and featuring an appearance by the slimmed-down Horatio Sanz. The other extends a chase scene with a crowded car, a Rickroll joke, and clearly unperfected visual effects. There is one short additional moment with Hoitz and his girlfriend. In addition, minor additions and alterations are found here and there throughout the picture; the group therapy session, Rob Huebel's report on the recovered Prius, and a callback to it. Finally, two other variances occur near the end; Derek Jeter makes a reappearance with a different look and conspiratorial bend, and the post-credits joke tag differs with some F-words evidently not intended for the film.The closing gag may be the only real gain and it amuses less from Hoitz's joke than in Gamble's reaction to it. Of the two versions, I would say that the theatrical is just a touch stronger, although I'm sure the likable Lindsay Sloane is glad to see more of her material pulled off the cutting room floor. 041b061a72