“Central Intelligence” is pretty much what you’re expecting.
“Central Intelligence” is directed by Rawson Marshall Thurber, and written by Ike Barinholtz, David Stassen, and Rawson Marshall Thurber from a story by Ike Barinholtz and David Stassen. It stars Dwayne Johnson, Kevin Hart, Amy Ryan, Danielle Nicolet, and Aaron Paul.
So Central Intelligence serves primarily as an excuse to put Dwayne Johnson and Kevin Hart in a comedy together. Johnson has, in a singularly successful manner, parlayed his fame as a wrestler for an acting career. He has become a major movie star, trading on an easy charisma and screen presence as well as an undeniable likability. Hart, one of America’s most popular comedians, has been a near unavoidable presence in mainstream comedies for the past couple of years. Both are well-liked, successful individuals with a solid comedy track record (financially at least). It only makes sense that they would collaborate sooner or later.
The film begins with a flashback, providing back-story regarding the relationship between our two leads. It opens on the final assembly of senior year at a high school. Calvin Joyner (Hart) receives an award and commendation from the school principle. It is clear that he is the golden boy, beloved by all (his oft-cited nickname is “the golden jet”). During the ceremony, four bullies carry the obese outcast Robby Weirdick (Johnson) out of the shower, naked, and throw him into the auditorium. Robb, of course, is mortified. Joyner offers him his varsity jacket to cover up.
Twenty years later, Calvin is working as an accountant, unable to escape the feeling he peaked in high school. He faces the prospect of attending his class reunion, and is not looking forward to facing his old classmates. Out of the blue, he gets a Facebook message from “Bob Stone,” who turns out to be Robby. After a night on the town, Calvin finds himself in way over his head, embroiled in an international espionage plot. Bob, (who now, well, looks like the Rock), is a CIA agent gone rogue, and he needs Calvin’s help on his latest mission.
It’s a surprisingly involved set-up, and the plot has quite a few twists and turns, with the audience being left in the dark for extended periods with regards to who or what to believe about Bob. The specifics of the spy plot are fairly generic (nuclear codes being sold to the highest bidder, etc.). The early scenes, where we still don’t understand what is happening, are the film’s highlight, with Johnson playing his character as fascinatingly unknowable, with a hint of menace.
The chemistry between the two leads is solid. Both are competent performers bringing something different to the table. Johnson is particularly fun to watch, as he basically just gets to play himself and goof around in the film’s second half. Hart (whom I admittedly have never much cared for) is less successful, getting a few good lines in but growing tiresome before the end of the film.
The larger issue is that the film is not particularly funny. It plays it safe at every turn. There are no surprises. Nothing is subverted. Things don’t escalate to the degree that they should. Everything is bright and clean and palatable. And while there are few painful groaners, I can’t remember laughing all that much either.
The action scenes are engaging in a way that calls to mind Rush Hour or something. A scene where Bob gets out of a tight spot at Calvin’s office is quite brisk and fun, for instance. It’s not exceptional action, but it’s where the film feels most alive.
All that being said, if you are a fan of these performers, then you very well might enjoy Central Intelligence. I can’t say I especially enjoyed it, but I’m sure that it will find its audience.
-Anthony Calamunci