Paul Feig | 125 mins | streaming (HD) | 2.35:1 | USA / English | 15
The cinema was blessed — or, depending on your point of view, blighted — by an abundance of espionage-related movies last year (see: the intro to my initial thoughts on Spectre for more on that), and even writer-director/star team Paul Feig and Melissa McCarthy got in on the act with this comedy.
McCarthy is Susan Cooper, a CIA agent who provides desk-bound support for Bond-esque super-spy Bradley Fine (Jude Law). When Fine is killed while investigating the villainous Rayna Boyanov (Rose Byrne), Cooper insists she go into the field to finish what he started. This doesn’t impress experienced agent Rick Ford (Jason Statham), who goes rogue to deal with Boyanov himself.
Technically speaking, Spy is a spy comedy rather than a spy spoof — a perhaps subtle distinction, but one that does inform the kind of comedy you’re getting; i.e. rather than a send-up that relies on you knowing the material being parodied to get the jokes, this is almost a workplace comedy… just one where the workplace is international espionage. Put another way, less Naked Gun or Austin Powers, more Kingsman with the comedy dialled up higher in the mix.
This is perhaps why it’s sporadically amusing rather than regularly hilarious; on the bright side, it only occasionally slides too far into dull toilet/gross-out ‘humour’. Similarly, it means that there are a handful of fun and/or exciting action beats scattered throughout the film, which you might not expect. They’re typically brief, but — even more surprisingly — there’s a fight between McCarthy and a henchwoman in a kitchen which is a genuinely good action sequence. It’s also surprisingly gruesome. Yes, it’s R-rated, but in the world of comedy that usually just means an overabundance of the F-word. Here we have at least one clear headshot, a dissolving throat, a knife through a hand, and more photos of a henchman’s penis than you ever needed to see. (That last one’s only describable as “gruesome” depending on your personal predilections, of course.)
Apparently Feig is a fan of James Bond and developed, wrote, produced, and directed Spy because he knew no one would ever let him do a real Bond movie. I guess that explains why some of it does work passably well as a genuine action/thriller. Composer Theodore Shapiro does an equally good job of evoking Bond’s musical stylings throughout his score. In my experience most comedies don’t show such consistent commitment in their music. Talking of music: as I mentioned in my June monthly update, there’s a random cameo by Verka Serdyuchka, Ukraine’s Eurovision entry from 2007. That gets the film some bonus points in my book.
The quality of the cast’s performances are variable in ways I didn’t expect. Statham almost steals the film, playing essentially himself — but exaggerated, I’m sure. McCarthy is a solid lead, at her best when sparking off Rose Byrne, who makes anything more watchable. Miranda Hart has a large supporting role as McCarthy’s CIA colleague, but I’m not sure that her strengths are wholly played to. I guess if you like her you’ll like her here (and if you don’t…) Peter Serafinowicz’s lecherous Italian is disappointingly overplayed, however, and I’m not sure why you’d cast ever-so-British Jude Law as a James Bond type and then give him an American accent.
The extended (aka unrated) cut contains almost 10 minutes of extra material, detailed here. Reading that list really demonstrates how some bits were tightened up for the theatrical release. I’d even wager that some parts are the result of improvising to find one good line, but in the extended cut they’ve strung half a dozen of the options together. I don’t think any casual viewer would miss much by sticking to the theatrical cut. That said, despite it running to two hours, I didn’t find it to be too long. It still wouldn’t hurt if it was tighter in places, but I didn’t get that “oh dear God why is this longer than 90 minutes?!” feeling you can get from 120-minute comedies.
Amusing rather than hilarious, but with a pleasing commitment to its genre, Spy isn’t going to tap into the zeitgeist in the way Austin Powers did almost 20 years ago(!), but it does provide a largely entertaining couple of hours.
Feig and McCartney’s latest collaboration, the Ghostbusters reboot, is in UK cinemas from today, and launches around the world over the coming weeks.