Cast: Martin Lawrence, Steve Zahn, Colm Feore, Eric Roberts, Bill Duke
Director: Dennis Dugan
Producers: Michael Green, Robert F. Newmyer, Jeffrey Silver
Screenplay: Jay Scherick & David Ronn
Cinematography: Oliver Wood
Music: Randy Edelman
U.S. Distributor: Columbia Pictures
Inept filmmakers use Martin Lawrence in much the same way that inept cooks use Tabasco sauce. The hope seems to be that, thrown into the mix haphazardly and without any sense of moderation, Lawrence's mere presence will be sufficient to obfuscate the lackluster and sub-par characteristics of the film's other ingredients. Yes, Lawrence adds some flavor to the blandness of National Security, but he's often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.
The movie is a member of an unfortunate sub-genre labeled as the "action comedy." An action comedy typically entails numerous boring, routine action sequences (car chases, shootouts, and the like) with occasional comedic interludes. Think Beverly Hills Cop (that's a well-known, although not sterling, example). Movies of this sort are often more tedious than entertaining, primarily because, despite spending an inordinate amount of time on action, they fail to generate any suspense or excitement. The payoff, when there is one, comes from the humor. Unfortunately, in National Security, despite the presence of two gifted comic actors, there's not much to laugh about. Lawrence's zaniness and Steve Zahn's deadpan reactions create a frenzied atmosphere, but too many of the jokes are recycled or simply unfunny. People laugh at a movie like this because they're programmed to, not because the film does anything to earn such a response.
Lawrence is Earl, a would-be LAPD recruit who is kicked out of the police academy when he goes a little too far during a training exercise. Later, having locked his keys inside his car, Earl tries to reach them by extending his arm through a half-open window. Enter Hank (Zahn), a cop, who promptly arrests Earl. A mild scuffle ensues during which Earl is stung by a bee. Since he is allergic to beestings, his face becomes swollen, making him look like he has been severely beaten. A video camera captures the incident from a bad angle, and it appears that Hank is repeatedly smacking Earl with his nightstick (when, in fact, he is trying to kill the offensive insect). This "evidence" is enough to get Hank fired and sentenced to six months in jail. After being released, he takes a job as a security guard with the same outfit that (unbeknownst to him) employs Earl. Soon, these two enemies become reluctant partners when they attempt to foil the plans of a crime ring.
The movie is about as inspired as one might expect from Dennis Dugan, the man best known for directing Big Daddy and Happy Gilmore. There's no invention in his approach to this material. The only time National Security comes close to being daring is when it takes a few pointed jabs at the media-driven frenzy of caught-on-tape, racially motivated police beatings. Otherwise, it's by the numbers: action sequences, over-the-top antics by the stars, buddy movie elements, and a throwaway plot. This is one of those films where it takes about 30 minutes before you give up the hope of genuinely being entertained and start looking at your watch.
There are occasions when something attempted by Lawrence and/or Zahn strikes pay dirt, but the laughter quotient is not high enough to justify the film's existence. If I want to laugh a couple of times every half-hour, I'll stay home and watch TV. It's also worth noting that Earl is too dislikable to be readily accepted as a protagonist. Lawrence loves playing a wisecracking badass, but the approach doesn't work when we're supposed to be rooting for his character. It's difficult to like or admire a mean-spirited weasel with antisocial tendencies. He builds up so much ill will early in the proceedings that it's difficult to do a 180-degree turnaround and cheer for him once he mends his ways.
I accept the existence of this kind of motion picture much as I accept the proliferation of advertisements before feature presentations – with equal parts regret and resignation. Movies like National Security are indicative of how little creativity exists in most high-profile Hollywood offerings, and how little faith filmmakers have in the intelligence of multiplex audiences. Unfortunately, that lack of faith will likely be justified by a high box office return for National Security. The result will be dozen more action comedies rushed into production. There's scant security in that thought.
© 2003 James Berardinelli