Starring Ryan Reynolds, Jeff Bridges, Kevin Bacon, Stéphanie Szostak, Mary-Louise Parker, James Hong, Mike O’Malley
Shoddy. Unoriginal. Dumb.
Some bad films reveal themselves on reflection. I made it through Tom Cruise’s The Mummy reboot thinking it was okay, and only later did I determine that no, it was not okay. It was quite bad. For me, there are a number of bad films in this category-X-Men: Apocalypse seems to grow worse in my memory with each passing year-but then you have films that are just immediately bad. The first frames scream out, “Get ready. You’re in for a trainwreck.” R.I.P.D is one such film. Actually, the first couple of minutes are so bad that they lowered my expectations to the point that the subsequent 90 minutes or so slightly exceeded them. It’s in these opening minutes that we are introduced (through a pointless framing device) to “deados,” bloated, repulsive monsters conjured up with the worst CGI money can buy ($140 million somehow, if Wikipedia can be believed) and the main antagonists of R.I.P.D. It’s difficult to overcome poor special effects (not to be confused with dated effects), and it would take a far more original premise than R.I.P.D offers to do it.
Nick Walker (Reynolds) is a hardworking Boston cop, blissfully in love with his wife, Julia (Szostak), but he’s recently stumbled into an easy payday with his partner, Bobby (Bacon). You know, an under-the-table kind of payday-the kind that gets you investigated by internal affairs-in the form of stolen gold. When Nick’s conscience wins out and he vows to return the loot, Bobby kills him, and Nick ends up lending his soul to the Rest in Peace Department for a chance at returning to Earth and wrapping up unfinished business. He’s partnered with a wily veteran from the old west, Roycephus “Roy” Pulsipher (Bridges), as they hunt down the dangerous deados I mentioned earlier.
R.I.P.D reeks of rotten ideas left over from the Men in Black franchise. A clandestine agency charged with saving the world seemingly every other week. Bizarre creatures. Odd couple buddy-action-comedy. It’s derivative. So, too, is the traitorous partner element. It’s all been done before which is no great crime in cinema, but then you add in the bad special effects and lifeless action sequences. The central relationship between Bridges’ ridiculous cowboy and Reynolds’ straight guy works better than expected. Bridges’ over-the-top schtick scores some laughs and the two actors are naturally likable.
-Walter Tyrone Howard-