(In theaters, August 2010) I don’t usually enjoy Will Ferrell’s brand of semi-retarded adolescent-grown-old comedy, so my expectations going into The Other Guys were as low as they could be. That explains my surprise at this generally successful buddy-movie cop comedy. Of course, everything will look great after the disaster that was Cop Out earlier in 2010; still, The Other Guys has a lot of fun cataloguing, tweaking and subverting an entire list of action movie clichés. It starts with a treat of a cameo, as Dwayne Johnson and Samuel L. Jackson play bigger-than-life parodies of the action-movie cops we’re used to see on-screen. Then it’s back to “the other guys” who fill the paperwork and do the actual investigation that goes on behind the usual action sequences: Will Ferrell as a nebbish cop with a wild past and normally-staid Mark Wahlberg as a competent policeman held back by a mistake. The film comes with half a dozen of respectable action sequences, and a steady stream of hilarious moments. Of course, it doesn’t always work: The danger is subverting conventions that exist given their storytelling power is that the subversion often robs the film of its story. At times, The Other Guys is too scattered and less satisfying than it should have been. Another problem is that the material is so broad that it’s often uncontrolled: a number of scenes run too long and feel too dramatic in the middle of so much silliness. (The credits, for instance, wouldn’t feel out of place in a Michael Moore film.) Those tonal problems can be annoying: While the film generally takes place in a recognizable reality, it also occasionally slips up and spends a few moments in a far more fantastical Simpsonesque universe, and the shifts between both tones only reminds us of realism’s dullness. But the advantages of such a scatter-shot approach are that sooner or later, another good moment will come along to make everyone forget about the latest dull sequence. A number of eccentric characters all get their moment in the spotlight (few more so than Michael Keaton’s father-figure captain or Eva Mendes as a supposedly-plain wife), much as a few standout sequences really pop, such as a bullet-time sequence of wild debauchery tableaux, continued abuse of the protagonist’s poor Prius and a purely indulgent slow-motion boardroom shootout. The Other Guys isn’t focused and runs out of laughs toward the end, but bits of it are clever and its overall impact is surprisingly charming.